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X2D. No. B. 351/
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The Father of the Indian Film
Industry.
Mr. D. G. Phalke.
SuitcriplUu :
Inland Rs. 5/-
• Burma £r Foreign Rs. 8/- ]
Single Copy As. 6 -
On the Cover
SHARIFA
in
"MOTHER INDIA'*
Proprietors : Filmindia Publications Ltd.,
104, Apollo Street, Fort, BOMBAY.
Editor: BABURAO PATEL
Vol. 5 JANUARY 1939 No. 1.
LEST WE FORGET!
Our film industry has completed 25 years — ■
years of struggle and progress. It has been a
hard fight, nevertheless worthwhile and neces-
sary.
Those who are in the industry to-day have
decided to celebrate its Silver Jubilee by orga-
nizing an exhibition and convening the Indian
Motion Picture Congress during the Easter Holi-
days.
A distinguished patriot in Mr. S. Satyamurti,
M.L.A., Deputy Leader of the Congress Party
has been designated to preside over the Congress
and other functions.
That is all as it should be and we wish every
success to the forthcoming Congress and the Sil-
ver Jubilee Celebrations.
But in the midst of all these celebrations, let
us not forget the man who first gave life to our
film industry. We mean Mr. D. G. Phalke, the
father of the Indian film industry.
25 years back he struggled with the first
camera, with the first picture and with the first
enterprise.
He was not a young man then, nor is he now.
But his pioneering spirit and brilliant example
FILMINDI A
January 1
will always remain as hallowed milestone in the
history of our film industry.
Mr. Phalke created then, what our present,
day producers can hardly imagine now. He gave
to our country a new medium of entertainment
and to our nation a new instrument of culture.
His lone initiative has to-day become the sole
bedrock of an industry that will some day build
a nation. He laid the foundation and left the
younger men to build the super structure. Lakhs
of rupees have been invested for an idea which
this old man once created 25 years ago.
When Mr. Phalke was seriously experiment-
ing with this all important instrument of films,
several of our present day producers were either
in the cradle or in the school.
Verily he is the father in age and in enter-
prise.
But time travels fast and the old man couldn't
keep pace with it. Men get old with years and
age slackens their enterprise.
The father is 68 years old to-day and is for-
gotten in his retirement at Poona. When lakhs
of rupees are being dissipated to-day in picture
production and its allied trades by the younger
squad, the old man, the father, is on the verge
of virtual starvation.
Thousands will be spent in mere showman-
ship in the forthcoming celebrations while the
grand old man will see this pile of money burn-
ing from a distance on an empty stomach.
Is it not fair and necessary that the industry
should honour this great man at this time by ex-
pressing its gratitude towards him in a way that
will make his future passage towards Eternity
more comfortable?
Why not start a Phalke Purse Fund?
We are merely asking for Justice! And we
cannot recommend a better deed to begin the
New Year with.
It would be proper for Prabhat to give a
splendid lead by opening the Purse Fund with a
munificent contribution in keeping with their
brilliant traditions of success.
4
A THOUGHT FOR THE NEW YEAR
I wish all my readers a happy and prosper*
New Year.
During my recent illness, I received num
ous letters of sympathy and good wishes. I <
not thank my unknown friends simply becausi
am still unwell and I preferred to enjoy the aff>
tionate warmth of their good wishes a lit
longer, in the hope that my health would impro-
Now, however, it is improving, but the progrc
is painfully slow. Nevertheless, I thank all j
their kind regard and sympathetic concern abc
me.
As I go to the press, my secretary has count
the large number of Christmas Cards which
have received so far from my readers. They a
still coming. But the number counted comes
exactly 2338 and nearly 85 per cent of these a
made in some foreign country. Several of the
cards are expensive and may have cost my kii
friends nearly a rupee each.
Calculating their cost even at a flat minimu
rate of four annas each, Rs. 584-8-0 have bet
spent in wishing Happy 'Xmas to one man, wl
being a Hindu is hardly expected to be sen'
mental about Christmas, especially when his ov
religion has provided umpteen occasions in a si
gle year for such luxurious expressions of senl
ment.
Though I appreciate the affection and kin
ness of my readers in sending me these 'Xm;
Cards, I still think that it is a big waste of mone
which our country cannot afford at the presei
LOOK OUT FOR THE NEXT ISSUE
A sensational article on
Director Barua
And his "Adhikar"
Written by D. F. KARAKA
the international writer who wrote that
remarkable book, "I Go West" and became
famous.
Mr. Karaka's article, which is exclusive for
"filmindia" is brilliant, but unfortunately
it annoys — and why?
DON'T MISS THE FEBRUARY 7SSUE.
I
tnuary 1939
FILM INDIA
me. And all this money goes out of our coun-
y as most of these cards are imported from
>reign countries.
I request my readers to look at this problem
om the correct angle. On me alone over five
jndred rupees have been spent — an expense
hich has brought no practical benefit either to
e or to my unknown friends. There are thou-
nds of others in this country who are more po-
dar. If all their friends choose to express their
Imiration and regard by a single 'Xmas card
■sting four annas, several millions of our Indian
oney will go to other countries.
Do we get anything thereby? We merely
ovide more capital to foreigners which capital
ey reinvest to exploit us further. While they
in, we always lose. Why should we play this
sing game, by attaching to our sentiment an
expression of luxury which is foreign in its very
conception?
Silent good wishes backed by sincerity are
always more valued than these gilded expressions
of stock phrases which mean nothing and cost us
so much of our hard earned money.
If every reader of mine wishes me really well, I
would request him to get me a couple of his friends
as subscribers for "filmindia". Nothing could be
a better expression of their appreciation of my
services than this and my prosperity for the New
Year will be better assured, because it will then
depend on the sincerity of my readers and not
on the cold printed phrases on the 'Xmas and New
Year Cards.
Let us all begin the New Year as more res-
ponsible Indians.
BABURAO PATEL.
Oem03on
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5
THE JOY OF 5 MILLIONS IN 4 MONTHS
ROYAL' JEWEL No. 5.
ra *
DIRECTOR-HERO: VINAYAK
Hindi: Pandit Indra * Story: P. K. Atre
4
The Record- Maker and Of course (\
Record Breaker.
"Huns Picture" in
Marathi & Hindi
*Bramhachari
Leading Lady: MEENAKSHEE
(The "It" Craze of Millions)
Daily E n ter t a i n i » g
I 18th Week
Has broken Records of
ANY OTHER PICTURE AT GWALIOR
Has Broken Records of even
PRABHAT'S SOCIAL PICTURES
at Poona, Nasik, Belgaum!
Thousands All Over India
India's Greatest Contribution to Humanity's Happiness!
World's FIRST PICTURE on "National Celibacy"
World -Rights Purchased by the "Royal Film Circuit", Bombay -4;
A "KRISHIN"
Social Dynamite
66 Royal 99 Jewel Release No. 6
Z AM AN A
(The Times)
10 Brilliant STARS in Just ONE
picture!
Epic Romance of Modern Souls
—Soul-Stirring MUSICAL!
POIGNANT! MAGNIFICENT!
ZAMANA
HAVE YOU
If you have one, you can't leave
the theatre UNMOVED and
Deeply unmoved!
"Zamana" is in the FIELD! The Greatest Emotional Classid
Mothers-in-law BEWARE! of the Indian ^
PADMA DEVI
(The Nightingale of Bengal)
with
AMIR KARNATAKI - GULAB
HANSA WADKAR ■ VASANT
MAJID • NAZIR - DAR - GOPE
GOT A SOUL? Directed by Ram Daryani
Creator of
'Gentleman Daku"
Running 4th Week at IMPERIAL (Bombay) - 2nd Week at (Poona) - 1st Week (Ahmedabadj
For bookings Apply to Royal Film Circuit. Bombay 4.
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This filter also protects the Hoch-
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cause it prevents the lower fre-
SOUND SYSTEM
FRONT VIEW
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The "Hi-Lo-PHONIC" Speakers
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FOR BETTER PROJECTION DEPEND ON "CONRADTY" CARBONS
Bo
mbay Calling
Ihis section is the monopoly of "JUDAS" and he it rites what he
likes and about things which he likes. The views expressed here are
noi necessarily ours, but still they carry weight because they are
written by a man who knows his job.
WARNED AND DISCHARGED?
The Executive Committee of the Indian Motion
Picture Producers' Association took very serious no-
tice of our remarks regarding Mr. Gogtay's irrespon-
sible writings in his Anglo-Indian Magazine.
The Committee at a meeting specially held for
the purpose is reported to have called for an expla-
nation from Mr. Gogtay.
Mr. Gogtay, of course, is reported to have fumbled
out the usual stock excuses of "good intentions and
bona-fide criticism" and prayed for an indulgence
from the Committee on this occasion.
The Executive Committee was in a mood to dis-
pense with Mr. Gogtay's services, but as Mr. Gogtay
is reported to have given an undertaking to behave
himself in future and not to indulge in irresponsible
and unpatriotic criticism in matters of national im-
portance, the members of the Committee decided to
give Mr. Ram L. Gogtay, Editor of the "Motion Pic-
ture Magazine" and Secretary of the Producers' Asso-
ciation another chance to prove his good faith by
keeping the promise.
We congratulate the Executive Committee on its
magnanimous action as we always thought Gogate
to be the right lad for organising things, only he is
inclined to go a bit wayward at times for want of
strict supervision.
What we however are pained to observe is the
support which some of the members of the Produ-
cers' Association, a strictly national body, is giving
to the "Motion Picture Magazine" a strictly Anglo-
Indian paper, perhaps because of Mr. Gogtay's com-
mon tie.
In this connection the significant words of Mr.
S. Satyamurti M.L.A., the Deputy Leader of the Con-
gress and President-Designate of the Indian Motion
Picture Congress should be borne in mind: "I want
the Indian film industry to be hundred per cent In-
dian in its conception, in development, in finance
and in production".
Some producers and distributors seem to have
allowed their nationalism to go astray goaded by the
promptings of some interested people who merely
pursue personal vindictiveness in misguiding them-
selves and others, but the warning of Mr. Satyamurti
ought to remind our people of their paramount duty
to the country.
People in our industry owe it to their new Pre-
sident-Designate to observe his advice sincerely and
to give it a serious expression in action.
BIGGEST BOX-OFFICE HIT OF THE SEASON!
"Brahmachari" produced by Huns Pictures of
Kolhapur has proved to be the best record breaker in
social pictures so far in the season and from day to
day it is gaining a tremendous ground in enlisting
mass popularity.
14 copies are being simultaneously screened at
several stations and it is worthwhile perusing their
run to measure the tremendous success which really
good Indian pictures enjoy in our country.
Bombay
Poona
Belgaum
Nasik
Akola
Amraoti
Dhulia
Kolhapur
Malegaon
Gwalior
Surat
Baroda
Nagpur
Ahmedabad
18th Week
18th
15th
11th
5th
5th
5th
8th
3rd
15th
7th
6th
7th
7th
Marathi Version.
Hindi Version.
No doubt Huns Pictures deserves the warmest
congratulations for producing a sensible box-office hit
which while it entertains proves amply instructive.
The unique success of "Brahmachari" brings
Principal P. K. Atre, its talented writer to the fore-
front of fame while Mr. Vinayak its director is ac-
claimed to be one of our few leading directors. Inci-
dentally Pandit Indra, who wrote the Hindi version
of this great picture, vindicates his position as the
star writer of the screen.
But the honours of success must be divided if
they are to be tested by practical facts. Had it not
been for the superb enterprise and clever publicity
of Royal Film Circuit we doubt whether the excellent
quality of this picture would ever have been vindi-
cated by its immense popularity.
FOR HEAVEN'S SAKE SAVE THE SOCIETY!
One can always close his eyes and say that the
world is dead. That is what the Motion Picture So-
ciety of India is trying to do when it meets with cri-
ticism from outside. We had written before about
the mismanagement prevalent in the Society. Once
11
FILM INDIA
January 1939
again we have to write on the same subject which is
very painful to us, — painful because some people in
the industry, mainly those interested, choose to take
the wrong view of our criticism, which, we may assure
our readers is always well meant and delivered with
an idea to help.
We refer to the present position of the Motion
Picture Society of India. At best it is precarious. Its
very existence is threatened by the menacing shadow
of an economical death.
Only two years back the Motion Picture Society
was doing very useful work. It had a glorious tradi-
tion of solid achievements to back it up and assure
it a permanent life. But, alas, to-day, it is gasping
for breath.
The recent balance sheet issued to the members
shows a liability of nearly Rs. 7,000 against some
dubious assets of Rs. 2,000.
In the past the expenses of maintaining the office
and the staff were always met from the collection of
the fees. The Journal of the Society has been a pay-
ing proposition, right from the beginning. In fact,
a part of the profits of the Journal have been used
to defray other expenses. Till this stage the Society
was a prosperous institution which at the same time
proved a valuable asset to the film industry.
But when they took the fateful Indian Cinema-
tograph Year Book into hand for publication, all
assets very soon became liabilities. The publication
of the book was mismanaged right from the begin-
ning. Pages were printed, cancelled and reprinted,
thereby increasing the cost of printing abnormally.
Unreasonable optimism ruled during the period ot
preparations and a riot of disappointment took place
on publication. All this was due to gross mismanage-
ment— mismanagement which entails a loss of over
Rs. 5,000, money which the Society hasn't got to-day
and in consequence its very existence is being threat-
ened.
Members of the Executive Committee seem to be
in a panic and are reported to be thinking of closing
down the independent offices and hitching them on
to the charity of one of the members who is only too
anxious to extend his courtesy for reasons of his own.
And all this when several good and sound busi-
nessmen are on the Executive Committee.
What a pity it is that the Society which was the
first and premier organised body till recently repre-
senting all the different interests in our film industry
had to abandon all its ideas of celebrating the Silver
Jubilee of our film industry, probably on grounds of
finance and internal squabbles.
The Society must be saved. Our film industry
needs it more to-day than ever before. If the present
members in power cannot save the Society by correctly
organizing it, they can at least do so by resigning in a
body and allowing others to do so.
One can understand the human weakness to
wield and enjoy power, but the machinery that is to
generate the power must have the vital energy of life.
If the Society lives and flourishes the present mem-
bers can always enjoy the glow of its success but if
it dies out we lose an useful institution and they lose
their excuse for greatness.
Will some of the present executive committee
members make the supreme sacrifice of by stepping
out for a while and allow better men to step in so
that the Society may live? Let us wait and see!
But in the meanwhile we recommend this mat-
ter to the urgent attention of Sir Rahimtullah
Chinoy, the new president of the Society, who cannot
begin his new duties better than by putting his new
house into order.
A shot from the Lunch given in honour of Mr. S. Satyamurti, M.L.A., Deputy Leader of the Congress
Party at the Green's. From left to right: 1. Mr. D. K. Parker (Director: Filmindia), 2. Mr. K. S. Hirle-
kar (Visual Education Society), 3. Rai Saheb Chuni Lall (Vice President, Motion Picture Society), 4.
Mr. Baburao Patel (Editor: Filmindia), 5. Mr. S. Satyamurti, M.L.A., 6. Mr. Bhulabhai Desai M.L.A.,
(Leader of the Congress Party), 7. Mr. Francis Low (Editor: "Times of India"), 8. Mr. J. Wielde, (Ma-
nager, Agfa Photo Co.), 9. Mr. D. F. Karaka.
12
" Filmindia's " Agitation Against Anti
Indian Pictures Vindicated in the
House of Commons
Sir Samuel Hoare Thinks "Siege of Lucknow " Undesirable
HE SAYS: "AT THIS TIME WE DO NOT WANT FILMS WHICH MEAN HUMILIATION EITHER
INDIANS OR BRITISHERS".
TO
BUT DIRECTOR ELVEY KICKS AT THE BAN !
The intensive agitation launched
>y "filmindia" against "The Drum",
i notoriously anti-Indian film pro-
luced by Alexander Korda and
>ther pictures like "The Siege of
jucknow". "The Black Hole of Cal-
;utta". "The Rains Came", "The
figer of Eschnapur" and "Gunga
)in" has had its sequel in the
louse of Commons, when the film
'Siege of Lucknow" was the sub-
ect of an important statement by
he Home Secretary when replying
-o a motion by Mr. Mander "great-
y deploring the action by the Gov-
irnment tending to set up any
orm of political censorship.
Sir Samuel Hoare said, "When
,he Secretary of State for India
was shown a certain film three
rears ago and his opinion there-
)n asked, he requested the pro-
noters not to proceed feeling
ihat the film would create the
vorst kind of feeling between
[ndians and ourselves."
"Remembering this advice, when
ie heard that another Indian film
was to be produced he very natu-
rally asked for information and
iiscussed the question with
;he Chairman of the Board
)f Film Censore. He made
t quite clear that the responsibili-
;y was entirely on the Chairman
)f the Board. If they decided to
Droceed with the film there was
lothing he could say or do. He
lid make it plain, and I think
rightly, that to produce a film on
[ndian mutiny at a time when we
ire embarking on a new chapter
!n the constitutional development
in India, and want to get rid of
the difficulties that came between
us in the past, would be undesir-
able.
Sir Samuel Hoare continued
"Thereafter the Chairman of the
Board of Film Censors discussed
the matter with the promoters of
the film who took the same view.
They had no grievance whatever.
I am glad to say that the film is
not produced and not exhibited."
The Labour Member Mr. Shin-
well asked, "Ought we to destroy
every reference to the Mutiny?"
Sir Samuel Hoare replied: "No. If
Mr. Shinwell sees the details of this
film he will come to the same con-
clusion. At this moment we do not
want a film of that kind recount-
ing in detail mutiny incidents that
may mean humiliation and defeat
of one side or the other. Anyhow
there is no difference on the sub-
ject. The Chairman of the Cen-
sors took the same view. The pro-
ducers, I understand, have no
cause to complain."
What "filmindia" now wants to
know is when the Home Secretary
would ban the other pictures which
threaten to scandalise India?
In the meanwhile let us congra-
tulate the British Government for
their timely action in banning
"The Siege of Lucknow". This
time atleast the British were not
"too late".
700 THROWN OUT OF WORK!
As a result of the ban imposed on
the "Siege of Lucknow" 700 studio
workers are reported to have been
thrown out of employment. The
Butcher-Rembrandt productions
were on the point of shooting the
picture with Edna Best and Wil-
fred Lawson in the lead when the
decision of the British Board of
Film Censors dropped as a bomb-
shell in the midst of all their
plans. The Censor announcement
reads as follows : —
"The most careful consideration
has been given to the question of a
film dealing with the Indian Muti-
ny of 1857-58. The Board have
been advised by all authorities
responsible for the Government of
India, both Civil and Military, that
In their considered opinion, such a
film would revive memories of the
days of conflict which it has been
the honest endeavour of both
countries to obliterate, with the
view to promoting co-operation
between the two peoples. In these
circumstances the Board thought
it right to intimate to the produ-
cers that guided in its decision by
such direct expression, of opinion,
and because of consequences, 4t
could hold out no hope of a film
based on this period being certi-
fied."
The company however, does not
seem to lose much as the contracts
of the stars and technicians and
others become automatically void
in a week "owing to an act of pub-
lic authority" which is always a
provision, in such contracts.
THE DIRECTOR KICKS AT THE
BAN
Maurice Elvey who was to direct
the said film does not seem to have
liked this ban very much. Instead
of taking this action of political
(Continued on page 48)
13
BOMBAY TALKIES'
MIGHTY SPECTACULAR MOVIE
IMII
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COM310NSENSE CROSSWOliO" No. I3S
This month we celebrate a Triple Anniversary, that of Commonsense Crosswords. Christmas and the New Year and to commemorate
Ibis combination of great occasions we are presenting this stupendous Commonsense Crosswords Offer. Even if it is not an All Correct
entry if yours is the best entry submitted in this Competition your magnificent reward will be a cheque for Rs. 25,000, Return Flights to London
at any time you choose and a ' Chevrolet ' de-luxe Five Seater Sedan. Should you be unable to accept either the Flights or the car, or in the
event of a tie, an extra cash sum will be awarded instead. A huge sum of Rs. 12,000 has been reserved for Runners-up and there are unlimited
attractive Extra Prizes for all winning solvers, including those with Four Errors. Handsome Free Presents are a further feature of this wonderful
Offer. If you can read these words you are fully capable of solving the puzzle below— and if you study the Clues with sufficient care before
recording your solutions you cannot fail to win a substantial share of the covetable awards offered. Take the first step towards your goal by
making full use of the Practice Square below.
CLUES ACROSS
I. Alas ! how often does an apt one
occur to us too late
4. Festival
9. Turkish Commander
11. Rope used for catching wild horses
12. Portuguese India
13. It is usually less difficult for a young
man than an elderly one to regain
lost this
15. Deliberate this nearly always makes
the object of it keenly resentful
17. To assemble
18. Person conscious of his own this
is prone to be unduly suspicious
of other people's
21. Iniquity
23. To increase
26. Such differences between Nations
are clearly a peril to world peace
27. In favour of
28. Unmixed
30. Creasy Liquid
31. Kindly person's reprovals of offend-
ing subordinates are seldom this
32 Selfish love sometimes causes a
mother to " " the future of
her child
33. Outspoken frankness causes a candid
person to " " many a friend
involuntarily
34. We often fail to realise how striking
are some of those with which we
are familiar
36. A detested rival's is apt to annoy
even the most forbearing of us
37. A drink too many often makes an
abstemious person this in a dazed
state
Self-righteous people seldom judge
an offender thus
CLOSING DATE JANUARY 12th.
N.B.— The Entry Fee in this Competition is Re. 1
per entry and Entry Squares will be published
in the issues of Dec. 18th, 25th or Jan. 1st.
CLUES DOWK
ONLY ENTRY SQUARES
CUT OUT FROM
"THE ILLUSTRATED WEEKLY
OF INDIA"
38
1st
of Dec. 18th, 25th or Jan.
will be accepted
COPMES A YAMLABLE EtlOM ALL
3.
5.
6.
7.
8.
10.
13
14
16.
19.
20.
21.
22.
24.
25.
27.
29.
34.
35.
Seeing anyone in " " is apt to
inspire reflective persons with pity
The " I " which is conscious and
thinks
Stage of change or development
The whole
Weapon of attack or defence used
by Indian police
Burnt tobacco
Deep in the hearts of most of us
is a desire for this
Majority of us keenly wish to obtain
many covetable things which we
haven't been able to . . .
Most of us who enjoy the theatre
derive some entertainment from
a stage one
Protection
More often than not, extremely
dangerous when actuated by sheer
malice
Another form of preposition to
To beat
Advice of habitual optimist is
seldom truly this
Alas, how quickly the average child
manages to damage a new one
To lower
Jumbled spelling of admire
Vote of assent in a governing body
Jumbled spelling of liner
Thick mist
We usually feel somewhat embarras-
sed when inadvertently we " "
something shocking
NE WS A GEN TS
The Editors Mail
e
!
Headers " when you are worried " write to me. I will do my best
in serving you. Serious matters will be treated seriously, ivhile
flippant letters will receive like replies. — The Editor.
?rom: R. J. Gursahani (Sukkur).
Is Miss Sabita Devi married? Are her parents
ilive? Has she any brothers or sisters? I hope she is
i beautiful lady?
Sabita is not married. Her father died recently
but her mother is alive. She has one sister and
one brother. Sabita cannot be called beautiful in
the sense of an Oriental beauty, but she is fairly
attractive, having a good complexion.
Does Sabita Devi intend to desert Sagar Film Co.?
There have been rumours that she intends join-
ing some one else or even producing her own pic-
tures in association with Mr. Badami. But I don't
think that Sagar will be a deserted place after
her departure as there is still plenty of attractive
population in the Sagar Studios. Sabita has been
only one of them and certainly not the only one.
'rom: A. S. R. Krishnan (Madura).
Why are only Prabhat pictures sent to the Venice
Ixhibition? Aren't New Theatres' pictures good
nough?
New Theatres do not seem to care to get the for-
mal seal of approval from the foreigners. They
seem to have kept out of this affair with a reli-
gious tenacity. Prabhat believes in publicity,
even if it is coming from acress the seven seas.
The recent appearance of Shanta Apte on the
tage at Madura has given a long'.ng to the fans t»
ee great actors and actresses like Devika Rani,
adma Devi, Kanan Ba'a, Saigal and Prithvi Raj.
Vill they also start on a South Indian tour?
I doubt if they ever will. Some of the persons you
mention are very busy artistes having on hand
two or even three pictures at a time and they
cannot possibly find any time for such recreation
tours. Shanta Apte is lucky in having to work
for a company which gives her only one picture
in a year.
'rom: Shewnath (Kharagpur).
What has become of Prabhat's "Buddha, the
ireat", Ranjit's "Sant Tulsidas" and Sagar's "Kabir-
las".
"Buddha" is waiting to be conceived, "Tulsidas"
is already in the cradle while "Kabirdas" was
still-born.
Why the readers of "filmindia" don't like to read
ny film magazine except "filmindia".
Because other magazines give very little to read,
while "filmindia" primarily belongs to its rea-
ders.
From: M. V. Gurunadh (Rajahmundry).
Is there any institute to coach up students as
Cameramen, recordists or directors?
There is no institution at present. Some bogus
institutions have taken to this profession, but
they are not reliable, and I advise my readers not
to be tempted into paying these fellows. But In
the near future The Abdulla Fazalbhoy Institute
under the control of the St. Xavier's College In-
tends to start classes for training recordists and
cameramen. That is the time when students
should join an institute.
From: A. P. M. Sabu (Cocanada).
Shanta Apte visited Madras last month. Why
has she not received a rousing reception from Ma-
dras?
You are giving me some news. I thought that the
Madrasis had welcomed her most warmly and
crowded round her with an enthusiasm that be-
trayed a suspicion that they had never before
seen any film actress.
From: S. Basavaanja (Tiimkur).
I think that the Prabhat Film Company itself
arranged for Shanta Apte to tour South India just
to encourage their picture "Gopal Krishna" as it fail-
ed at various places?
I don't think so. Shanta Apte, being free for a
month and knowing that the South has several
imposing temples, perhaps undertook the tour
due to religious inclinations. You know she is a
Brahmin and is expected to be religious. Her
tour however seems to have given some good pub-
licity to her and to her producers. Naturally
enough, "Gopal Krishna" is bound to get a little
lift in the South.
From: Y. V. Kulkarni (Bombay).
Is Mr. V. Shantaram related to Master Vinayak
and how?
They are cousin? Their mothers are sisters.
From: A. V. Balakrishnan (Cuddapah).
I am a clerk in the Imperial Bank of India, but
my long standing desire is to work in films. Can you
help me in this matter?
17
FILMINDIA
January 193S
No! I will prove a bad friend if I do so. Your bank
must be having some current accounts of film
producers. See the balances and you will know
the rest. You are happy where you are. It is
better to be a fan than to be a star.
From: Nand (Shikarpur).
Please let me know all you know about Prithvi
Raj and Leela Desai?
The first one is a man while the second is a
woman. They are reported to be film artistes,
but I can't tell you how far that is true. By the
way, do you happen to know anything more about
them?
From: A. S. P. Bhimji (Dar-es-Salaam).
In your reply to a question from me, you have writ-
ten that "actors and actresses swear at filmindia". I
hope you mean "by it" as your shocking reply has
created a stir amongst your readers in Dar-es-Salaam.
Do you mean to say that they curse it and turn away
in revulsion?
Truth is often shocking. When I wrote that, I
told you the truth. You forgot that "filmindia"
is the only paper that criticises candidly the per-
formances of our artistes. When these perform-
ances are good, the artistes blush at the praise
showered on them, but on the other hand, they
curse the paper when bad performances are con-
demned. But with all that they don't turn
away. They would willingly miss a meal, but cer-
tainly not "filmindia". Some of our artistes are
not sporting enough to admit that they give bad
performances more often than otherwise. If peo-
ple of Dar-es-Salaam get upset over such a small
thing, then there are many sins to our credit, a
list big enough to start a small revolution. One
of these days, I shall mention some and you will
know what one needs to run a film paper in India.
From: Man Singh (Indore).
If you are a married man, please tell me how I
should treat my wife for the first few days, because
I am going to be married soon.
In the first few days, treat her with respect so
that she gets a good impression of you. In later
years, if perhaps you change your attitude, she
will remember her first few days with an affec-
tionate ache.
From: S. Kamat (Nova-Goa).
It is rumoured that Devika Rani is going to Holly-
wood to appear in American pictures. Is it true?
No, it is just a rumour and like many a one has
no truth in it.
From: H. N. Hallikeri (Haliyal).
Do you consider Master Vinayak of Huns as one
of the best directors of India?
After seeing "Brahmachari" and "Devata" he
should certainly be called one of the best directors
of India and in addition makes a bold claim tc
be called the best one of Maharashtra.
From: Dinanath Vyas Visharad (Ujjain).
Why do New Theatres' pictures create a lasting'
impression on the human mind while Prabhat pic-
tures do nothing of the sort?
To the intellectuals New Theatres gives a big and;
varied fare from time to time by providing rea-
listic themes which easily find parallels in every
day life. Treating these themes with a philoso-
phical brush, they present an attractive canvas
of entertainment with the colours in complete
harmony. Prabhat, till recently, has been taking
costume plays, recitation of which through ages
has already impressed the minds so deeply that
there is hardly any scope left for new impressions
But wren Prabhat took courage in hand and pro-
duced "The Unexpected" they hit it rather well
considering that it was the very first attempt. ]
think Prabhat will improve in future and try tc
vie with New Theatres in this aspect of film en-
tertainment, which so far remains the monopoly
of New Theatres.
Is Kanan Bala better in both acting and singing
than the best actress of Maharashtra?
In singing Ratnaprabha can beat Kanan whi/? h
acting Durgabai Khote reigns supreme. Combin-
ing both, Kanan is a class by herself.
From: H. L. Chadda (Jhansi).
Which is the best director from the following
Kardar, Sohrab Mody, Mehboob and Jayant Desai?
Jayant Desai.
From: D. Paresnath (Natal).
What is the nationality of Yasmin — what is he
real name and where is she working now?
Yasmin 's real name 'is Betty Gomes. She is ar
Anglo-Indian in nationality and now works witl
Paramount Film Company.
TWO PICTURES YOU MUST NOT MISS!
1. "ZAMANA" produced by Krishin
Movietone starring Padmadevi,
Gulab, Dar & Nazir.
2. "BHABI" produced by Bombay
Talkies starring: Renuka Devi,
Meera, Maya, Jairaj and Desai.
We recommend these pictures with confi-
dence. Reviews appear in this issue else-
where.
18
anuary 1939
'rom: A. Krishnarao (Nagpur).
Why is Master Vithal called the "Indian Douglas"?
We don't believe in whys. I know half-a-dozen
girls who are occasionally called the "Greta
Garbos" of India — and one particular girl was
called Greta Garbo, Norma Shearer and Lupe
Velez, all at the same time. Surely a freak crea-
tion of the publicity manager! Don't you think
that Americans should retaliate by calling Doug.
Fairbanks the "Master Vithal of Hollywood"?
rom: B. Maniram (Durban).
I would be extremely glad to obtain the photos
f Madhuri and Mollina! How shall I proceed?
I don't know the exact route from your place to
India but I think Thos. Cook will help you in this
respect, that is if you want to come over this side
for the photos. After arrival you have to call on
the girls, but after that I don't think you will
have reason to be "extremely glad". You might
probably forget to ask for the photos. Seeing
them off screen is not much of an alluring pros-
pect. Another simpler way is to write to these
girls asking for an autographed photo, and if you
manage to catch their eye with something inter-
esting in your writing, you might get the photos!
FILMINDIA
From: R. ?. Melhotra (Cawnpore).
What about Mira Devi of "Vachan" fame?
What about her? She is Mira Alexander, young,
attractive, bashful if necessary, a good hostess,
serves tea gracefully to the guests, adds an extra
spoon of sugar and punctuates her talk with an
occasional glad-eye. Quite a good girl and I like
her. And so will you if you meet her only once.
In addition she sings and dances well and what's
more, works well. But she is married, if that in-
terests you! Her husband's name is Ram Nath
Singh. He is at Allahabad and studying law.
That sounds risky! Doesn't it?
I was vcrv much affected by the film "Vachan".
Why so?
You must have broken your promise to someone
and the scenes in the picture probably reminded
you of "her" and your "beastly" behaviour. Now
go and make up otherwise you will have a
"breach-of-promise-to marry" suit on hand.
From: T. P. C. Abdul Cader (Mahe).
What are the relations between Bibbo and
Prabha? Are they married?
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19
FILMINDIA
No, not to each other but separately. Bibbo has
Sardar — (someone, I forget his name, never mind)
as her husband while Mr. Satyakam is the proud
husband of Prabha. Excuse me, for a moment,
your question reminded me of the story of two
convent girls. And now don't ask me what the
story is. In any case I shouldn't have mention-
ed it!
From: M. A. Khalig (Alanthur).
Who is the best known Indian comedian?
Who is he? Please tell me! I shall keep it a secret
as long as you like. I have not yet come across
a comedian in India,. Men who call themselves
comedians are more like monkeys than men and
that's truth, by all the devils in Hell! (Why get
the Gods into this?)
From: S. Yeshwant Naik (Nagpur).
What is the real name of Meenakshi?
What do you mean by "real name"? Is "Meenak-
shi" her number plate?
From: Miss S. D. Sushila (Madras).
Is it not surprising that Shanta Apte is not given
the leading role in "My Son"? Is it because Shanta
Hublikar is better than Shanta Apte in music and
personality? What are the real facts and how is
Shanta Apte swallowing this displacement?
She seems to have gone on a tour to help her
digestion if what you suspect is true. Do you
really find Shanta Hublikar superior In music and
personality? I don't think that there was any
particular intention in Shanta Apte's displace-
ment as you put it. I think, Prabhat just wanted
another heroine. Shanta Apte is I think reserved
for Shantaram's production.
From: Akhtar Nawaz (Calcutta).
What is this yarn about your illness? You are
a fine person. Just when the industry needs you most,
you slip away to a nursing home?
Yarn, indeed! Besides the place I went to was
neither a home nor had it any nurses. Damn it,
it was a surgical Hospital and I returned a sick
man, having missed what I had looked forward
to.
From: Mahomed Kamruddin (Madras).
What has happened to Nissar and Zebunissa?
What has happened to them? They were once
married, but nothing happened. So there was a
divorce. Now Nissar has gone his own way, Zebu-
nissa her own way. Unless they meet again, no-
thing is going to happen, so don't worry.
January 193
Mr. Nawab is noted, for what?
People say that he flatters the boss rather wel
and keeps him in good humour. Is he known fo
anything else?
Why is Kajjan not seen on the screen nowadays'.
Because she doesn't work in the studios. Simpl
isn't it?
From: M. V. Dikshitulu (Cocanada).
Will you be good enough to let me know, with-
out reservation, what all you know about Baburao
Apte the brother of Shanta Apte.
"Without reservation" is a tall ::der. All that
therefore known about him is t . it he is the bro-
ther of Shanta Apte, an actres of Prabhat. And
that is all we need know about -iim as otherwise
he has nothing to do with our film industry.
From: S. G. Rajulu (Kurnool).
Please send photos of Motilal and Surendra in
beautiful colours in post card size?
I went to Motilal and Surendra to ask for photo'
graphs for you, but when they heard your name
they were so flattered that they thought they
would call on you personally rather than insult
you with tiny photographs. You can now write
to them and inquire when they intend to give
you a look-up. Why not send me your photo. I
want to see your face. Send it in post card size
with colours.
From: P. R. Rajoo (Nagpur).
May I know why Rose and Motilal left Sagar
Movietone?
To go to Poona on the same train.
I learn that Motilal is in love with Rose. How far
is this rumour true?
Absolutely true. And there are several others who
are in love with her, including Chowdhary and
myself. The only obstacle is that she is not in
love with any of us. What about you?
What are the ages of the following: — Sabita Devi,
Rose and Maya Bannerjee?
Eleven, twelve and thirteen respectively on the
day you read this.
From: Bipin B. (Baroda).
Suppose the son of a well known actress were to
see his own mother making love, say, to you or to me
on the screen what opinion will he form about his
mother?
If he saw his mother making love to me he would
say: "Hullo, what a wonderful man, Mum knows
^ow to choose her man", But if he saw you with
20
January 1939
FIL M INDIA
her he might probably blurt out in disgust: "Bah.
Mummy is getting old. She can't see. Couldn't
she get any one better?"
From: N. V. Sastry (Tenali).
I do not for myself think that there is much «>f
'beauty" in Shanta Apte. What do you think — just
between ourselves?
I do not agree with you. I have never seen a wo-
man so beautiful as I saw Shanta flushed with
temper during the three minutes that she was in
my office. She almost hypnotized me, I am nurs-
ing that impression and have thrust aside her
screen appearances which perhaps account for
your impressions.
''rom: M. R. Nagappa (Mysore).
Who are the Greta Garbo and the Shirley Temple
India?
According to the Royal Film Circuit. Lalita Pawar
is the only one who is the both of India.
•"rom: M. D. Govindrajalu (Madras).
Is it a fact that Miss Nalini Turkhud has passed
he B.A. Examination?
I don't know whether it is a fact, but she says
so and Keshavrao Dhaiber nods in confirmation.
So let us believe them.
From: Ghafoor Ahmed (Banda).
An young educated man of 17, not knowing act-
ing and singing perfectly wants to join a film com-
pany as an actor. What should he do?
If this man has looks he is eminently suited for
our film line seeing that he can't act and sing
perfectly. These very qualifications are found in
some of our big actors and your man stands a
good chance. Ask him to apply to Prabhat or
Sagar?
How can a man of a noble family join a film
company?
Firstly by trading in his nobility, secondly by
learning the tricks of the trade.
Is the life of a film actor or of an actress pleasant?
That depends on the surroundings. If the studic
has plenty of attractive girls, the actor Ands life
worth living. On the other hand if the producers
and directors are well placed, the actress is never
more happy.
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3, Synagogue St., CALCUTTA & BANGALORE
21
"Filmindia" Entertains the Deputy
Leader of the Congress Party
Mr. Bhulabhai Desai M. L Av the Leader of the Congress Party
Compliments his Colleague
A LARGE AND REPRESENTATIVE GATHERING HONOURS MR. S. S ATY AMUR?. T, M.L.A.
"I want the Indian film industry
to be hundred per cent Indian in
its conception, in development, in
finance and in production", declar-
ed Mr. S. Satyamurti, M.L.A.,
(Central), speaking at the luncheon
party given in his honour by Mr.
Baburao Patel, Editor of "filmindia"
at the Green's on the 18th Decem-
ber 1938.
Mr. Satyamurti is the President-
I Designate of the Indian Motion
Picture Congress and of the Silver
Jubilee Celebrations of the Indian
film industry which is to be held
during the coming Easter Holidays.
He referred to his deep interest in
the film industry and added: "I
have no use for compromises or
quotas. The moment we get any-
thing like power, we are going to
bring the Indian film industry to
its highest level and towards this
end, I hope the Intellectuals, the
producers and artistes will endea-
vour."
A large and very representative
gathering, with several journalists
responded to the Invitation of
Filmindia Publications Ltd. Pro-
minent among those present were
Mr. Bhulabhai J. Desai, M.L.A.,
Leader of the Congress Party, Mr.
Francis Low (Editor "Times of
India"), Rai Saheb Chuni Lall,
(Vice President of the Motion Pic-
ture Society), Mr. Satyanathan
(Asst. Collector of Customs), Mr.
K. S. Hirlekar (Visual Education
A group photograph taken
on the occasion of the
lunch given by the Direc-
tors of Filmindia Publica-
tions Ltd., in honour of
Mr. S. Satyamurti, M.L.A.,
at the Green's on the 18th
December 1938.
(Right) An exclusive pho-
tograph of the hosts and
the distinguished guest:
From left to right: 1. Mr.
Camer Saleh, 2. Mr. D. K.
Parker. 3. Mr. S. Satya-
murti, M.L.A., 4. Mr. Babu-
rao Patel. 5. Mr. Gopal
Swamy.
23
FILM INDIA
January 1939
Society), Mr. J. Wielde (Manager,
Agfa Photo Co.) Mr. Kapurchand
Mehta, (Mg. Director, Kapurchand
Ltd.), Mr. Surbhai G. Desai (Secre-
tary, Indian Motion Picture Distri-
butors' Association), Mr. D. K. Par-
ker, (Director of Filmindia Publi-
cations Ltd.), and Mr. Jagannath
J. Patel, ("Bauer" Representative).
MR. BHULABHAI PAYS A
COMPLIMENT!
On behalf of the Directors of
Filmindia Publications Ltd., Mr.
Bhulabhai J. Desai, Leader of the
Congress Party In the Central Le-
gislative Assembly thanked the
chief guest and others present at
the function for their wonderful
response to the invitation of Mr.
Baburao Patel and observed: "At
present myself and Mr. Satyamurti
Mr. Bhulabhai Desai, M.L.A.,
Leader of the Congress Party.
are functioning under a somewhat
difficult circumstances imposed by
the Government of India Act. But
nevertheless, the valuable moral
assistance and intellectual equip-
ment which Mr. Satyamurti is able
to give is a great consolation toj
me. I particularly appreciate Mr.
Baburao Patel's enterprise in or-
ganising this pleasant function in
honour of my colleague where
every one of importance in the
local film industry is present, not
to mention the all important mem-
bers of the Press, remembering the
fact that Indian film industry will
eventually pay a great part in the
future national life of our coun-
try."
Thereafter Mr. Baburao Patel
introduced the guests individually
to Mr. Satyamurti and Mr. Bhula-
bhai Desai and the function came
to an end.
A parade of intoxicating musical compositions
never before heard on the Indian Screen —
composition created by that genius of music —
Rafique Gaznavi in the gayest and the most thrilling production of 1939 that is
S I T A R A
How being produced and dkecled by :
EZRA MIR at the Film City Studios with a scintillating array of Box Office names:
ir Ratan Bai * N a z i r * Ashique H u s e i n
★ Khurshid * Mubarak *K.N. Singh
ir Violet Cooper * Jamshedjee i Nazir Bedi
i S u n a lini ^ Fazalshah * Mirza Musharaf
and others
Fnr Boolnngs apply tcr, Everest Pictures Corporation Ltd., Lamington Road, Bombay-4
24
SHE 531 OTHERS CRmC3S31
DEVI—
This famous and beautiful artiste has given a remarkable performance in "Zamana"
a Krishm picture, in which she brings tears to the eyes of the thousands who flock
to see the picture daily at the Imperial Cinema, Bombay. They say, "Padmadevi
has never before been better".
. PRAMILLA— PAofo fcy 4. J. Palel
You will see her in "Mother India" a Cine-color picture coming to the Royal Opera
House very shortly. The picture is released by India Cine Pictures Ltd.
Kicks and Kisses
A girl who went to California
and there saw a fig tree for the
first time: "Oh! she squeaked, "I
thought the leaves were much
larger!"
* * *
A girl who was staying at a hotel
phoned the desk clerk that there
was a rat in her room. ' Make him
rome down and register", replied
(the clerk.
• * *
A diamond is a woman's idea of
a stepping stone to success.
# * *
Sometimes a girl must have a
brassier or bust.
# * ♦
Girls used to try to hide their
tans, but now they try to tan their
hides.
• * *
Some women don't shrink from
kissing gigolos, but their bank ac-
counts do.
» * *
An old maid is one who has given
up all hopes of giving in.
* * *
A girl who bought a book about
jthe nudists read it from cover to
iuncover.
"Every time I kiss you my head
swims."
"Well, don't try to be a Johnny
Weissmuller in one night, dear".
• # *
Some girls have eyes like stars.
They wink at every passer-by.
Pajamas are masculine; the fe-
minine should be majamas.
* • •
Many a girl marries a night owl
in the hope that he'll turn out to
be a homing pigeon.
When a girl is in a pensive mood
she's thinking of things expensive.
A platinum blonde is a cool pro-
position, because she is hair condi-
tioned.
* * •
It's strange, but men who horse
around have nothing stable about
them.
* * »
When a husabnd starts playing
with fire, it's his wife that burns.
* * •
A private secretary is a girl who
has a high time on her overtime.
* * *
Even when a woman's life is
empty, she's full of hope.
* * »
A woman is always a necessity
to a man, but some men just want
the bare necessities.
* » *
A girl who refuses to let a man
give her a kiss on the lips, is apt
to get it in the neck.
* * *
He "When I kiss you like this
something seems to snap."
She: "Yes, wait a second till I
fasten it."
* • »
First Cutie: "Since Harry met
me, he's been trying to grow hair
on his chest."
Second Cutie: "To show his man-
liness."
First Cutie: "No to hide those
horrid tatooed women."
» * •
When a girl wants to make a
lasting impression on a fellow she
uses indelible lipstick.
* • •
Just when you think your past
is safely buried, some dirty dog
digs it up.
Girls who go to nudist camps
ought to have their heads exa-
mined— instead.
* * »
If opposites attract, "yesmen" go
out with girls who always say no.
* * •
A man who hid in a married
woman's clothes closet so often
that the moths called him by his
first name.
* * *
Tight clothing doesn't impede
the circulation; the tighter her
clothing, the more a girl circulates.
* • *
Some of the excuses women wear
for dresses are too thin to deceive
anyone.
* ♦ »
Golddiggers get the sugar by
knowing how to hold their tongue.
* .* *
"Darling, I'm insane about you,
mad about you, crazy about you!"
"Ah, now you're talking sense!"
* * *
A smart nurse is one who hangs
around the docs, waiting for her
ship to come in.
* * «
Some gals use a pill to get rid of
a headache, but others use a head-
ache to get rid of a pill.
* • *
The iceman never calls at the
Mae West home, because there's al-
ways a full chest there.
» » •
"Speak up! Are you for or again-
st nudist colonies?"
"Well, there's lots to De said on
both sides of the fence."
» • »
Have you heard of the absent-
minded cashier who rang up one
of the waitresses and kissed his
cash receipts goodbye?
* * •
The man who comes home as
tight as a drum, should expect to
be beaten.
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SEE THAT IN
A R A S W A T I'S
TAGGERINGi
PECTACULAR
O C
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Produced by : Dadasaheb Torney
Directed by: Chowdl
Notes and News-
"THE DRUM" CUT OR BANNED BY FIVE GOVERNMENTS— ANOTHER ANTI INDIAN PICTURE
BANNED BEFORE PRODUCTION— HOLLYWOOD ON FIRE— BABURAO PATEL RESIGNS FROM
THE CONGRESS— MRS. LEELAVATI MUNSHI COMPLIMENTS PADMA DEVI.
Mr. S. Satyamurti, M.L.A.. the
Deputy Leader of the Congress
Party and President-Designate of
the Indian Motion Picture Con-
gress.
"THE DRUM" IS BEATEN!
The Government of Bihar has
banned "The Drum", Alexander
Korda's notoriously anti-Indian
picture on the grounds that the
Muslims of the province are likely
to object to it.
BANNED IN THE PUNJAB!
The Punjab Board of Film Cen-
sors has suspended the Exhibition
Certificate of the film "The Drum".
With this ban, the picture cannot
be shown now in the whole of the
Punjab.
CUT OR BANNED BY FIVE
GOVERNMENTS!
With Bombay, Madras, Bihar.
Bengal and Punjab Governments
treating "The Drum" thus, the
prospects of this picture are doom-
ed in the other provinces, "film
india" insists that such libellous
pictures should not be allowed to
land on our soil.
BANNED IN DELHI
The distributors of "The Drum"
that "fateful" picture tried to re-
lease the same at Delhi. But the
Government banned and disallow-
ed the release of even the print
censored by the Government of
Bombay.
"RELIEF OF LUCKNOW"
BANNED!
The British Board of Film Cen-
sors has banned the picture "Re-
lief of Lucknow" under production
at the instance of the British Gov-
ernment. Mr. Maurice Elvey the
director thus loses another oppor-
tunity of giving still another poli-
tical Episode, which would auto-
matically draw crowds without
publicity.
MR. ABBAS RETURNS HOME!
Mr. K. A. Abbas, the well known
local journalist, who had gone or.
a world tour as the roving corres-
pondent of "The Bombay Chroni-
cle", returned to India in the first
week of December. While tn
Hollywood, he got the opportunity
of visiting some of the foreign stu-
dios and watching the shooting of
"Gunga Din" which he calls "a
scandalously anti-Indian picture".
THE CORRECT POLITICAL
CENSORSHIP!
Political censorship, of the right
type, for the present is being exer-
cised in England. Certain parts of
the Paramount newsreel showing
the meeting of the British Prime
Minister with Herr Hitler at Godes-
burg were cut out as they were
considered likely to prejudice the
present political negotiations be-
tween the two countries. To an
assurance asked by Sir Percy Har-
ris (Liberal), that the censorship
would not be used in other cases,
Sir John Simon, Chancellor of the
Exchequer said "I should have
thought that the censorship meant
the exercise of compulsory power.
There was nothing of the sort In
the present case. A representation
was made to the Ambassador of a
friendly Government who was good
enough and thought it right to
take action tending to promote
European peace". Elsewhere we
■
L
Mr. Chandulal Shah, our pro-
minent producer, has been unani-
mously elected the Chairman of
the Reception Committee of the
Indian Motion Picture Congress.
have published a report of the
British Government's anxiety to
promote peace in India.
HOLLYWOOD FIRE!
A terrifying forest fire which the
police described as the worst in
the history of South California
swept between Santa Monica and
Malibu Beach in the last week of
November.
Panic stricken men and women
waded into the sea to escape the
flames as the fire swept down the
shore near the fashionable Malibu
Beach in the heart of filmland's
"Gold Coast".
One thousand men were engaged
In fighting the disastrous fire and
the total damage is estimated at
$4,000,000. Among the palatial
homes reported to have been des-
troyed are those of Madeleine Car-
roll, the film star. Mr. Sam Wood,
the film director and Miss Laura
Mathiessom, the noted painter. Al-
together 300 homes and cabins
have been gutted and hundreds of
34
January 1939
FILM INDIA
persons have been removed to the
hospital suffering from burns.
CONGRESS AND SILVER JUBILEE
IN THE EASTER WEEK!
It has been finally decided to
hold the Indian Motion Picture
Congress during the Easter Holi-
days, 1939. During the week be-
ginning from 8th April the Silver
Jubilee celebrations will start with
the opening of an extensive exhi-
bition at one of the popular mal-
dans of the city and all the pro-
ducers, distributors and exhibitors
and other allied tradesmen will
contribute their best efforts to
make this unique celebration a
huge success.
Mr. Baburao Patel who was una-
nimously elected as the Joint Ho-
norary Secretary, had to resign his
post due to illness. The Executive
Committee was not in a mood to
accept this resignation but at the
second request of Mr. Patel the re-
signation was accepted with great
reluctance.
It is unfortunate that the Con-
gress should lose the incomparable
services of Mr. Patel at this stage
due to illness.
The vacancy created thus was
however immediately filled up by
the nomination of Mr. Y. A. Fazal-
'jhoy 'Film City) as the Joint Ho-
inorary Secretary.
I Mr. K. S. Hirlekar the other Ho-
norary Secretary who is so well
known in pioneering new ideas
and piloting them is doing his ut-
Imost to make the Silver Jubilee
celebrations a grand success.
Already a neat little fund has
been collected for the preliminary
preparations and the Secretary is
reported to have issued a country-
wide appeal to all to co-operate
with the organisers.
Mr. Chandulal Shah. Chairman
of the Reception Committee has
invited Mr. S. Satyamurti, M.L.A.,
(Central) to preside over the Con-
gress and other national leaders
will in the meanwhile be approach-
ed to Inaugurate the different
functions. The vigour and enthu-
siasm displayed by Mr. Shah at
the sacrifice of his valuable inte-
rests and time are really admir-
able and have already Instilled
enthusiasm in the others.
We only hope that the Silver
Jubilee celebrations and the Con-
gress prove a great success and
they will with such stalwarts at
the helm.
The Indian film industry should
be indebted to Mr. Hirlekar for his
splendid lead in a matter of such
vital interest to the industry.
MR. HntLEKAR'S NEW
PAMPHLET!
The irrepressible enthusiasm of
Mr. K. S. Hirlekar to promote the
interests of the Indian film indus-
try has found another expression
in his recent publication called
Mr. .K S. Hirlekar, Honorary Sec-
retary of the Indian Motion Picture
Congress who has shouldered im-
mense responsibility in making the
Congress a success.
"Place of Film in National Plann-
ing." This little pamphlet is an
invaluable log of facts and figures
about the Indian film industry and
It will prove immensely useful to
our national leaders and ministers
of the different provincial govern-
ments in forming a correct esti-
mate of the present development
of the industry and in contemplat-
ing the possibilities of its future
development.
MRS. LEELAVATI MUNSH1
PRAISES "ZAMANA"
On the 10th of December Mrs.
Leelavati Munshi, M.L.A., presided
over the premiere of "Zamana" at
the Imperial Cinema, Bombay.
The picture which is produced by
the Krishin Movietone is written
by Mr. K. S. Daryani and directed
by Mr. Ram Daryani. With the
central theme revolving round the
evils of the dowry system preva-
lent amongst the Hindus, the pic-
ture has become a pathetic argu-
ment for the abolition of this
none-too praiseworthy relic of the
old customs.
A huge gathering of prominent
citizens who graced the occasion by
their presence was moved to tears
as the story was unfolded on the
screen leaving on their minds an
Indelible impression of the mes-
sage of the tale.
At the end of the show Mrs.
Munshi, in a neat little speech
congratulated the Daryani Bro-
thers for bringing to the screen
so instructive and pathetic a sub-
ject and complimented Shrlmatl
Padmadevi, the heroine of the pic-
ture, for her superb portrayal of
the principal role which was none
too easy to play. With Padmadevi
garlanding Mrs. Munshi, the
pleasant function came to an end.
"BRAHMACHARI" VOTED TO BE
THE BEST PICTURE OF THE
YEAR
The phenomenal success of
"Brahmachari" a Huns picture all
over the country, has attracted
the attention of The Cine Goers*
Association of India under the
Presidentship of Mr. Laxmidas R.
Tairsee, which Association by a
unanimous vote has declared this
picture as the best one of the year
from the view point of entertain-
ment, instruction and production.
At a very pleasant function held
on the 7th of December Mr. Tair-
see, the President of the Associa-
tion declared its Award of Merit
for "Brahmachari" and in the
midst of a deafening applause pre-
sented a gold medal to Meenakshi,,
the heroine of the picture.
The success of this social pic-
ture of Huns augurs a splendid
future for their subsequent produc-
tions.
35
FILM INDIA
January 19."
THE VICEROY OF INDIA SEES
"MOTHER INDIA"!
On the 9th of November, 1938.
at a command performance given
at the Viceregal Lodge, Their Ex-
cellencies Marquis of Linlithgow
and the Marchioness of Linlith-
gow saw India's second all-colour
talking picture "Mother India"
and they were much interested in
the presentation of the story and
were impressed by the act-
ing, particularly of the lady
who took the part of the mother.
The colour process was described
as "extremely effective and na-
tural".
"Mother India" is coming to the
screen at the Royal Opera House
in Bombay.
MEMBERS OF THE ASSEMBLY
SEE "MOTHER INDIA"!
A special show was also given to
the prominent members of the
Central Legislative Assembly at
Delhi and Mr. Bhulabhai Desai,
M.L.A.. the Leader of the Congress
Party in congratulating India
Cine Pictures Ltd., the producers,
said "apart from the technique of
production, the story underlying It
is exceedingly well presented."
MR. SATYAMURTI CONGRATU-
LATES PADMA DEVI!
On the 18th December, 1938, Mr.
S. Satyamurti, M.L.A., Deputy
Leader of the Congress Party and
President-Designate of the Indian
Motion Picture Congress and the
Silver Jubilee Celebrations, visited
the Imperial Cinema. Bombay, to
view the screening of "Zamana" a
social picture produced by Krishin
Movietone and directed by Mr.
Ram Daryani. As the story un-
folded itself on the screen, Mr.
Satyamurti. who was accompanied
by his family, was visibly moved
at the incidents in the picture. All
present were particularly moved
with the eloquent pathos in the
picture and on conclusion Mr. and
Mrs. S. Satyamurti warm*.' con-
gratulated Shrimati Padma Devi,
the heroine of the picture for her
excellent performance.
Among other invitees Mr. and
Mrs. K. S. Hirlekar were promi-
nent.
MR. SATYAMURTI VISITS
"FILMINDIA" !
On the 17th of December, 1938.
Mr. S. Satyamurti. M.L.A.. the De-
puty Leader of the Congress Party
and President-Designate of the
Indian Motion Picture Congress
visited the offices of "filmindia".
Mr. Baburao Patel, the Editor and
Mr. D. K. Parker, the Director or
Filmindia Publication Ltd., receiv-
ed him on behalf of the firm.
Mr. Satyamurti expressed a plea-
sant surprise at the country-wide
circulation of "filmindia" and con-
gratulated the Editor on his na-
tionalistic outlook in dealing with
the problem of the film Industry.
After closely neruslng diverse
evidence of circulation and popu-
larity of the magazine. Mr. Sat-
yamurti expressed his approval of
the way the business was belns
organised and blessed the paper
by promising his full support at all
times.
ONE MORE DEAD!
•
An unfortunate accident tooh.
place at the Prabhakar Talkies at
Dhulia on the 15th December,
while screening "Brahmachari",
the record-breaking Huns picture.
The film suddenly caught fire and
operator Narhar Kulkarnl was
burnt to death.
One more man has died and by
his death has provided one more
argument for enfor~'ng govern-
ment control in the matter of
licenses for the operators and pro-
viding safe and ideal conditions
for their welfare.
Will the Government act or will
it wait for some more to die?
LIKED BY HITLER. DISLIKED BY
GOFRING AND SPURNED BY
HOLLYWOOD!
Leni Riefenstahl. the Fuhrer's
closest woman friend recently visi-
ted Hollywood. She is today tne
head of the German film indus-
try.
In Hollywood, she wanted to be
shown round the film studios but
they refused to have her even as
a visitor.
When she arrived in America's
film capital the first thing she saw
as she opened the newspapers was
a full page advertisement.
It said "Leni Riefenstahl. hea
of the Nazi film industry, has arri'
ed in Hollywood. There is no roon
in Hollywood for her. Let til
world know that there is no nxxi
In Hollywood for Nazi agents."
So dark eyed, bronze hairei
Leni left Hollywood saying ths(
she had come to see the scenery
Goering, Hitler's right-har<
man. is reported to dislike Leu
and feels worried about the inflii
ence she exerts on his Fuhrer.
While Goering dislikes Leri
Goebbels is reported to be Jealoij
of Leni and her position in trj
Nazi film industry..
"FILMINDIA" WELCOMES TH
APPOINTMENT OF THE NEW
COMMERCE MEMBER
On behalf of the Directors <
Filmindia Publications Ltd., m|
Baburao Patel. the Editor <
"filmindia" has sent to LondO]
the following cable on the 20tl
December. 1938 to Sir A. Rams!
swami Mudaliar, the new Corrl
Sir A. Ramaswamy Mudaliar \vr
is appointed the new Commen
Member of the Government 1
India.
merce Member of the Governmerl
of India: "To Sir A. Ramaswani
Mudaliar. India House. London.-4
Filmindia ha:ls your appointmei
as Commerce Member with plei.l
sure. Ind an film industry wil
its great potentialities entertaij
high hopes and support due U
your keen interest in film." — Babi
rao Patel.
36
January 1939
JVI.G.M. PICTURE BANNED!
I The Bombay Board of Film Cen-
.jsors have banned the M.G.M. pic-
ture. "The Criminal Is Born" say-
|jag that "any reformative element
in this film is very incidental and
~':he whole film, except for a short
!;ourt scene, shows the exploits of
rvoung criminals". The Board de-
serves our congratulations for its
iorrect and courageous action.
^ In this connection we reproduce
vhat we wrote In our July issue
'egarding such pictures. "Recently
ibe newspaper reported several
crimes in the United Provinces.
Bvith a daring and skill, that re-
minded one of the sequences in
he American crime pictures. Does
t not occur to Congress Ministers
n different provinces, that this
"iew school of crime finds its pa-
rent germ in the foreign crime
pictures which exploit and often
'lorify crime with all its elaborate-
ness with which the West is gift-
ed?
"Truth and non-violence, the
heet anchor of the present Con-
ress Ministries, will have soon to
e traded in for crime and vio-
mce if we have another five
ears with all the bootlegging, big
ouse stories of crime from Ange-
lica."
I And nowadays crime, skilful and
rganlzed is reported from the
pburbs of the city. Thanks to the
merican crime pictures! "film-
jidia" demands that every crime
ticture should be banned. India
las no use for crime as an indus-
fy.
ARNER PICTURE UNDER
BAN
• "Garden of the Moon" produced
y First National and released
irough Warner Brothers has been
primarily banned by the Bombay
%>ard of Film Censors on the
•Iround that "it contains scenes
n hich are likely to offend Indian
%blic sentiment."
I
The story of the picture centres
:>und the cunning manager of
sOarden of the Moon" a cafe in
ollywood. He had booked a band
hich did not turn up in time to
ilfil the contract. His publicity
girl books another band, but the
manager quarrels with the lea-
der and throws him out. Then the
publicity girl realizing the weak-
ness of the manager for Maha-
rajas introduces a phony Indian
Maharaja as a friend of the band
leader to tempt the manager to
continue the services of the band.
The phony prince is called the
"Maharajah of Sund" and it is re-
ported that there are some objec-
tionable references to them.
The Censor Board is likely to
pass the picture for exhibition if
"all references to the Maharaja
are removed."
One cannot however, under-
stand why an Indian Maharaja
should be introduced as a pivot to
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FILM INDIA
move the sequences in the pic-
ture. Are our Maharajas so
cheap? And where the hell in
India is this phony "Maharaja of
Sund." A joke at our expense! Is
it?
THE BRITISH TO TAX THE
AMERICANS
"Filmindia" understands from
authoritative sources that the Bri-
tish Government is seriously con-
sidering a proposal of in-
troducing a legislation to pre-
vent the drain of capital
from the country. The Ameri-
can film industry will be the first
one to be affected under the pro-
posed legislation, as the annual
turnover of the distribution of the
American pictures in Great Britain
will be taxed heavily with certain
provisions. The tax will be in the
region of 25^ or even more. The
revenue thus secured will not how-
ever go to the State Exchequer but
will remain in the country and
will be invested in the production
and the exhibition branches of
the indigenous film industry.
It is high time that something
on these lines is thought of by our
Provincial Governments. After
all. the Americans are sending out
nearly 70 lakhs of rupees per year
as nett profits. A 25 <~r of it will be
a windfall to our film industry,
which it so badly needs at present.
ITALY PITS THE BRAKES ON
Italy seems to be bent upon In-
troducing drastic changes, for the
better of course, in their film re-
lations with the Americans, lnsplte
of the four major producing com-
panies like M.G.M., Warners. 20th
Century Fox and Paramount not
co-operating with the Italian Gov-
ernment.
37
FILM INDIA
January 1939
Interviewed by the Italian cor-
respondent of "filmindia" His Ex-
cellency Dino Alfleri, the Cultural
Minister expressed the determina-
tion of his government to stop the
drain of huge profits collected by
the foreigners, and especially by
the American distributors ana
compel them to invest the same in
the Italian film industry.
With 200 films shown every year
In Italy, the profits of the Ameri-
can distributors amount to bet-
ween fifty and sixty million Lire.
Italy's annual requirement is about
300 films, out of which 200 are sup-
plied by the Americans, 40 are lo-
cally produced and the remaining
60 are imported from other Con-
tinental countries.
The Italian Government has
created a new concern called the
E.N.I.C. (Ente Nazionale Industrla
Cinematographica) which works in
co-operation with the Propaganda
Ministry to buy over the foreign
pictures by giving away a fixed
price of one million dollars.
His Excellency Dino Alfieri stout-
ly denied that the new measure
was intended to strike directly at
SUBSCRIBERS' PRIZE
SCHEME
As we are still receiving a
number of coupons for
subscription, we cannot
announce the winning
numbers in this issue. The
numbers will, however, be
announced in the February
issue.
the American film industry, as it
was mainly enforced to support the
Indigenous film industry and to
prevent the flight of capital from
the country. Writing in an Italian
paper, Vittorio Mussolini, the eldest
son of the Duce says: "Personally
and politically, I am glad that
American films produced in that
Jewish-Communist centre of Hol-
lywood will no longer enter Italy,
but I should like to see the provi-
sions to meet the situation put into
force by our monopoly".
Cur Provincial Governments who*
now enjoy the power of enforcing
the quota system, should seriously
consider enacting some definite
legislation to prevent the foreign-
ers taking away our money — a
handsome annual gift — from our
country.
H ear the
MELODIOUS
and Enchanting Songs of
PR ABHAT'S
Nightingale
and Parshuram milk BalaUram
IN
Y SON"
M. P. 567 to 569
o n
Young India Records
Mrs. Shanta Hublikar
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38
And This Is Hollywood!
By KHWAJA AHMED ABBAS.
(Exclusive For "filmindia".).
(Mr. K. A. Abbas the well known
critic of the "Bombay Chronicle"
has just returned from a world
tour, during which he visited
Hollywood with an extra interest
as a film critic. In this interesting
contribution Mr. Abbas tears off
the veil of illusion and gives a
petp into the real Hollywood:—
The Editor.).
Hollywood: The very name
spells glamour and romance to
millions of film fans all over the
world. Imagination, aided and
abetted by the photogravure sec-
tions in fan magazines, has en-
dowed the movie capital with
every conceivable quality of beauty
and perfection. We think of it as
a magical city populated by Beauty
Queens and dashing He-men, be-
vies of beautiful belles in elegant
costumes walking about the streets
displaying their physical charms
In abbreviated bathing costumes
on picturesque sea beaches or in
marble swimming pools. In short,
an all pervading atmosphere of
beauty, romance and luxury. The
Persian couplet inscribed in the
Moghul fort of Delhi might as well
have been a post-dated tribute to
Hollywood.
"If there be heaven on the face
of earth,
It is this, it is this, it is this."
Fed on such attractive illusions,
naturally there is in each one of
us a keen desire to see Hollywood
for ourselves. It was, therefore,
not without a certain amount of
excitement that I stepped out of
the train at Los Angeles. (I knew,
of course, that there is no rail-
way station by the name of Holly-
wood). Another train had also
come in just then and I noticed
a small group of reporters, photo-
graphers and publicity men sur-
rounding a little curly-haired girl
—Shirley Temple. Outside the
station a few passengers and por-
ters collected out of curiosity to
look at the child -star who was
quickly driven away in a high
powered limousine. In the after-
noon papers Shirley Temple's ar-
rival after a holiday was blazoned
on front pages. The small group at
the platform was now exaggerated
into a "huge crowd of fans and
admirers". Hollywood, thy name
is publicity.
Soon I was to find how clever
publicity men have conspired to
create the world-wide illusion
about Hollywood. The film colony
is but a very small part of the
far-stretched city of Los Angeles
(about the size of Bombay) many
among whose population are no
more concerned with movie-mak-
ing than the average resident ot
Bombay. Not even two per cent
of the population is engaged in
film work and there are far more
churches than studios, more real
estate agents than actors. Even
in the quarter which may be called
Hollywood (once it was an inde-
pendent town but to-day it is an
undefined suburb of Los Angeles)
it is difficult to find much of the
glamorous atmosphere that is as-
Film fame is short-Uved. Clara
Bow the 'it' girl, once the darling
of the screen, to-day runs the 'it'
cafe.
sociated with the movie capital. It
Is a beautiful enough town— not
unlike other towns on the West
coast of America — with a prosper-
ous business quarter on the
Hollywood Boulevard, and long
rows of bungalows with gardens.
There is nothing to distinguish the
Mr. K. A. Abbas.
residences of film stars and yc
would never know which is Clai
Gable's house unless you went c
a "conducted tour of film star
houses" along with a charabar
full of screen struck females,
is typical of the Hollywood and lj
fictitious, illusive atmosphere th;j
I found no cocoanut trees in tij
famous "Cocoanut Grove" and tl]
Beverley Hills are no hills at a
Most of the studios as well as m
houses of the stars are not ]{
Hollywood but spread out far ar.j
wide, removed from one anothc
by as many as fifteen or twenM
miles. Hollywood has no longer
geographical connotation. It
not a town but a tradition, ar
we hear so much about Hollywoc
because that tradition has a con'
mercial value.
THE "STARS" ARE HUMAN
Before visiting the studios I ■
cided to have a general look ;h
Hollywood, to breathe in the a
mosphere which was expected
be so alluring but turned out
be so disillusioning. I cannot,
course, vouch-safe for what got
on inside the homes of the sta I
but outwardly they strike one I
ordinary human beings. It
human enough that some of the!
do crazy things and indulge
40
January 1939
f ILMINDI A
temporary fits of extravagance
when suddenly sky-rocketed to
fame and incredulous fortune. I
saw the dancing at Trocadero or
eating plebian hamburgers at the
Brown Derby, swimming or tann-
ing themselves on the beaches or
just shopping and they did not
appear to be either a super-human
or a sub-human race. Being a cos-
mopolitan crowd many of whom
have suddenly acquired a lot of
money, a sort of flamboyancy of
dress and deportment, a craze for
the unusual and the outlandish, is
inevitable and naturally the extra-
girls (many of them more beauti-
Immortality in Cement — Jean Har-
low's autograph and hand and
foot-prints in front of Chinese
Theatre, Hollywood.
ful than the real stars) try to look
like Greta Garbo and Joan Craw-
ford—by using the same make-up!
I do not claim to have visited
all the studios or met many of the
stars. I was there only for a little
over a week, and unfortunately,
owing to a heat-wave most of the
more prominent film personalities
were out for their summer vaca-
tion. Moreover, publicity chiefs of
some of the studios (whose Bom-
bay representatives never tire of
asking me to give their pictures
free publicity) were too "busy" to
reply to my letters asking for faci-
lities to see their studios. Anyway,
others were more courteous to a
visiting journalist and I went round
some of the biggest studios includ-
ing Warner Brothers', whose publi-
city department was good enough
to entertain me to a lunch in the
studio. I watched films being
made, studied In particular the
scenario and publicity depart-
ments, met men and women repre-
senting all branches of film acti-
vities and even broadcast a talk
from the K.M.P.C. ("the station
of stars"), in the course of which
I was allowed not only to pay a
tribute to Hollywood's leading stars
but also to utter a few home
truths about the anti-Indian films
that are made there. And all the
time while I scoured Hollywood, 1
kept thinking of our own film in-
dustry—our producers, studios and
stars. What, I asked myself, is the
lesson that India must learn from
Hollywood? Briefly summed up
below are some of my dominant
impressions.
HARDLY 10% ARE "SUPERS"!
We have a tendency in India to
over-rate the superiority of foreign
films. About three hundred and
odd foreign feature length films
are shown in India every year but
these are not even ten per cent, of
the total produced in England and
in the U.S.A. These are the selec-
ted ones from the more resource-
ful producers. Hundreds of the in-
ferior ones are never seen in In-
dia. Some of these that I happen-
ed to see abroad were as bad as
the crudest Indian films. I do not
mean to say, however, that gene-
rally the technical standard of
American films is not higher than
that of the average Indian film.
I am not surprised at it. If we had
half the resources enjoyed by
Hollywood studios we could assu-
redly do just as well. The best
equipped of our studios do not
come anywhere near even the
smaller Hollywood studios. This
superiority is particularly marked
in the matter of sound-stage con-
struction, cameras, sound-record-
ing apparatus, lights, automatic
laboratories and, last but not the
least, make-up. They are able to
afford everything of the best be-
cause of their extensive produc-
tion activities. Each one of the
half a dozen leading Hollywood
studios produces almost as many
pictures as are the total output
of all studios in India put together.
There are 24 sound stages in War-
ner Brothers' Burbank establish-
ment alone. Have we got 24 sound
stages in the whole of India?
THAT GLAMOROUS "HOLLY-
WOOD TOUCH"
The secret of that "Hollywood
Touch" of elegant technique and
polished presentation seems to me
to consist mostly of three factors
—scenario construction, photo-
graphy and publicity, each of
which may be briefly touched upon
here.
It is not infrequent in India to
start production with half-finish-
ed scenario and, in some cases, no
shooting script at all. The scena-
rist struggles hard with his job
to keep pace with production. Dia-
Granmon's Chinese Theatre,
Hollywood.
Iogues are often written on the
set. In Hollywood I met scenarists
who were busy in August, 38 on
scripts which will go into produc-
tion somewhere towards the end of
1939! Not one but almost half
a dozen scenarists and dialogue
writers start work months in ad-
vance. They write, revise, re-
write, polish and re-polish until
the whole thing is perfect — on pa-
per. Is it any wonder that so
many of our films appear amateur-
ish and slip-shod when compared
with the smooth and slick Holly-
wood productions?
Very few people seem to rea-
lize in India how important is
the role of photographers in "ma-
nufacturing" stars. The much
boosted "personality" of so many
of them is but the product of
clever manipulations of lights
conspiring with the camera. Some-
times enamel-like glamour is pro-
duced by high lights, on other oc-
r41
FILM INDIA
January 193S
casions subdued lighting is used
to emphasise tragedy. The haunt-
ing "mystical" beauty of certain
stars is achieved by photograph-
ing them slightly out of focus.
Next time you see Greta Garbo or
Marlene Dietrich, watch how
much of their screen personality Is
the work of the photographer. So
far has photography advanced in
Hollywood that beauty is no longer
necessary for a screen career.
Either the dual combination of
make-up and photography trans-
form a gawky female into a Ma-
donna or — the publicity men con-
vince the world that it Is not ugli-
ness at all: but "personality" — or
«ven "elusive" beauty!
THAT IS SOME PUBLICITY!
Of publicity men it has been said
that if they took it into their head
they could convince the world that
black is white and night is day.
The huge publicity organizations
of Hollywood can certainly per-
form such miracles. I had never
any idea how completely they
have perfected the technique of
"boosting", until I saw how the
publicity departments of the ma-
jor studios work. They spend al-
most as much on publicity as we
do on an entire production.
On their staff they have first-
rate newspaper men, gossip-writers,
social columnists and fashion ex-
perts, every moment on the look
out for new publicity angles. Every
week each studio sends out articles,
paragraphs, Hollywood letters, stu-
dio news, interviews with stars,
biographies (and even "autobio-
graphies") of stars and dozens of
stills to each of the thousand news-
papers and magazines on their list.
No sooner does a new artiste sign
o.i the "dotted line" than the pub-
licity department gets busy to Hke
out the last drop of human inter-
est cut of his or her life for the
popular press. Romances, engage-
ments, marriages, divorces- -they
are all mere grist to the mill of
publicity.
I was present in the office 01 a
publicity manager while he tele-
phoned to the press the news ol
the engagement of one of the
minor stars to a Director. He got
in touch with about four dozen
newspapers and gave them the
news — to each one of them In a
different way. That evening a mil-
lion residents of Los Angeles had
read the news and acquired a new
interest in that particular actress.
I am not at all sure however, that
the engagement was not a publicity
stunt, an excuse to crash in the
news columns. It is thus that un-
known persons are made into uni-
versal favourites. How shall we
compete with them with the hush
hush policy of our studios most of
which are content to issue a badly
written sheet very few months an-
nouncing the next "glorious, gor-
geous, magnificent golden epic of
the silver screen"?
WE HAVE TALENT BUT—
I have stressed these three
points to the exclusion of others
because in other respects we are
not so backward. Some of our
directors can compare favourably
with foreign directors, if some of
our producers are just money-mak-
ing machines, most of Hollywood
executives are no better. Favou-
ritism, trading in the body and
mind, intrigue— these are not en-
tirely absent from the movie ca-
pital of the world. And yet they
continue to make hundreds of im-
pressive pictures every year, be-
cause they have a world-wide mar-
ket, their profits run into millions,
they can afford to buy the best
equipment and the best talent ;-
while we, with our twelve hundred
cinemas, have to economize on
everything and be content with
the second best.
We have to strive for the deve*
lopment of our industry and the
improvement of the general level
of our films. But, meanwhile, we
should not be over-awed by Holly-
wood but try to analyse its me-
thod and its achievements with a
view to adopting them to our own
conditions. I came away from
Hollywood a little disillusioned, a
little impressed, better informed
but, above all, a greater optimist
about the future of the Indian film
industry.
Here you see them, these excellent artistes of the screen. Mubarak, Ratan Bai and Sunalini Devi in
"Sitara" produced by Everest Pic tures and directed by Ezra Mir.
42
Pound the town
"ZAMANA"
Producers: Krishin Movietone —
Story and Scenario: K. S. Daryani
— Direction: Ram S. Daryani
— Dialogues & Songs: D. N. Mad-
hok — Photography: S. R. Nara-
simha — Recording: J. B. Jagtap
— Music: Sunderdas -- Cast: Pad-
madevi (The Colour Queen), Nazir,
Bansi Karnatki, Gope, Dar, Master
Vasant, Gulab, Hansa Wadker &
others. Releaesd at: Imperial
Cinema, Bombay. Date of Relea-
se: 10th December 1938.
This is a powerful story, which
provides a strong argument again-
st the evils of the dowry system
prevalent amongst the Hindus.
The picture vividly depicts the
pathetic plight of a newly wedded
pair, suppressing their modernism
and making it serviceable to or-
thodoxy, which inspite of this ho-
mage indulges in merciless persecu-
tion till a once promising home is
wrecked and lost in grim tragedy.
This picture is an entertainment
of tears, — tears which come out In
sympathy and leave a soothing
feeling behind.
The Story: Professor Govind, i3
a modern educated youth with rich
parents who are utterly orthodox.
His mother is anxious to see her
son wedded, preferably to a girl
whose parents can give a big dow-
ry. As events turn out. however.
Govind marries Sushila an educa-
ted girl from a poor family of two
brothers, who possess only a small
house in the village as their sole
wealth. But the house is sold and
Sushila is married to Professor
Govind. Govind's mother does not
receive the new bride well and now
starts a villifying campaign again-
st the new comer. Govind tries his
best to put some sense into his
parents, but fails. Affairs soon be-
come tragic and the drama ends
with Sushila and her two brothers
dying in the lap of tragedy and
Govind becoming a wreck.
Acting: Padmadevi as Sushila
has a very sympathetic role to
play. She does this superbly,
bringing tears to the eyes
of the onlookers with her intense-
ly pathetic performance. A sharp
contrast to this role is provided by
Gulab as the mother of the hero.
Gulab's portrayal is excellent, and
certain scenes she carries to suc-
cess on her shoulders. Nazir as
Professor Govind is good. Dar as
Mohan the elder brother of the
heroine wins our sympathy with-
out seeking it. With an excellent
diction and suitable emotion, this
clever artiste has made the story
vivid. In his younger brother Gu-
lab. well-played by Master Vasant,
Dar gets the requisite support. The
comic interludes were portrayed by
Mr. Ram Dariani, our smallest and
youngest director whose recent
effort "Zamana" has won the
applause of all.
Gope and Amir Karnatki rather
well. Hansa Wadker showed con-
siderable improvement in a minor
role.
Production: Ram Daryani, the
Director of this picture gets our
congratulations for the clever di-
rection of a beautiful story which
was not so easy to handle.
The scenario of the story was
beautifully written with a pro-
fessional eye on balancing the dra-
matic values. K. S. Daryani right-
ly enjoys the reputation of being
called the "Shakespeare of Sindh".
(The reviews published
under this section are use-
ful both to the average
cine-goer and the exhibi-
tor. Several technical
aspects which are of im-
portance to the exhibitor
in his bookings have been
treated here in short,
maintaining, at the same
time, the casual interest
of readers in general.)
The story of Zamana does him
great credit, as Mrs. Leelavati
Munshi. M.L.A. put it while open-
ing the picture at the Imperial
Cinema.
The photography was generally
good and beautiful in outdoors.
Recording called for a little more
care. Dialogues are beautifully
written. The music was pleasant
and correct. Padmadevi's songs
particularly appealed due to her
melodious voice. Editing of the
picture is praiseworthy.
Points of Appeal: In saying that
no one should miss this excellent
picture, we have said everything
about it. The instruction in the
picture, however, is implied in its
treatment on the evils of the dow-
ry system. The performances of
Padmadevi, Gulab and Dar are at-
tractive and worth a visit. The
picture takes our vote as an excel-
lent production with an intensely
sensible subject.
"THE STREET SINGER"
Producers: New Theatres Ltd. —
Story & Direction: Phani Mazum-
dar — Photography: Dilip Gupta
and Sudhish Ghatak — Recording:
Loken Bose — Dialogues: A. H.
Shore — Songs: Arzu — Music: R.
C. Boral — Editing: Kali Raha —
Cast : Saigal, Kanan, Jagadish, Bik-
ram, Ramkumari and others — Re-
leased at: Minerva Talkies, Bom-
bay. Date of Release: 24th Novem-
ber, 1938.
It is a romance of the streets.
Two orphans — a boy and a girl-
team together to make a living pri-
marily as street singers. Their rise
to fame and adventures on way
are described in the story with the
ultimate dis-illusionment after ac-
43
FILMINDIA
January 1931*
Quiring fame and wealth. The
whole affair looks a bit amateurish.
The Story: Bhulua and Manju
are two orphans whom fate has
brought together in their early
childhood. Bhulua who has a ta-
lent for music, trains up Manju to
be a good dancer and singer. They
trek for the city — in this case, Cal-
cutta and there by another trick of
fate meet Amarnath a theatre
owner. Very soon Manju becomes
a star, more due to her personal
charms than to her musical at-
tainments. Bhulua who doesn't
get his chance, consoles himself
by helping Manju to her stardom.
Both love each other very deeply,
but circumstances had not yet
helped them to give it an express-
ion. In their pursuit of ambition,
love remained a forgotten quanti-
ty. Manju becomes a roaring suc-
cess and soon finds herself recei-
ving the warm attentions of her
proprietors. In the midst of this
new found fame, Bhulua and Man-
ju are for a time estranged. After
a period of misunderstanding, Bhu-
lua thinking that Manju no longer
wants him decides to quit. But im-
mediately he is gone, Manju reali-
zing the wrench of suppressed
love, chases him and ultimately
finds him below a tree, after a very
convenient storm scene. There
love expresses itself and Bhulua
Manju once again go back to the
streets where they had found their
early happiness.
Acting: Saigal as Bhulua given
a very subdued performance. His
music however is a strong recom-
mendation. Kanan is good in
parts. In music she comes off
well with her more famous partner.
Jagdish as Amarnath, the theatre
owner, does what he is asked to.
The pity is that not much was de-
manded from him. His dialogues
are superbly delivered. Bikram is
not much. His slapstick inter-
ludes fail to convince. Ram Ku~
mari merely served as furniture.
The others don't do anything worth
remembering.
Production: The scenario is far
from satisfactory. The entire de-
velopment of the story is weak and
shows lack of experience in using
dramatic values. The theme of the
story had plenty of possibilities,
but alas—
The direction was experimental.
Photography was not satisfactory
and far below the usual N. T.
standard. In several shots, the
lighting erred by being profuse.
Kanan's glamour suffered the most
due to bad photography. The re-
cording of sound was also defect-
ive. Sets were apologetic, particu-
larly the theatre set. Rai Boral
the music director could have made
the picture popular by giving a
number of popular tunes. Why he
didn't do so remains to be explain-
ed. The dialogues, though good,
had too much of Urdu idioms in
them. A simpler language would
have been more welcome. Barring
song number 11 and the 3rd and
5th lines in song No. 10, the rest
of the song composition did not
strike one as particularly intelli-
gent.
Points of Appeal: Saigal and
Kanan, teamed together for the
first time, give a couple of good
songs. Some outdoor village shots
are praiseworthy. As an entertain-
ment, the picture is quite good,
though slightly boring in the early
parts.
"INDUSTRIAL INDIA"
Producers: General Films Ltd., —
Story, Dialogues, Songs and Direc-
tion: Mohan Sinha — Photography:
Gordhanbhai Patel, Date and
Kukde — Music: H. C. Bali, Anil
Biswas and Mushtaq Hussain —
Recording: Engineer, Arora and
Suraiya — Editing: Barodekar —
Caste: Shobhanadevi Samarth,
Prem Adib, Wasti, K. N. Singh,
Aundhker, Mirza Musharaf and
Shamadevi. Released at: Royal
Opera House — Date of Release:
19th November 1938.
This picture has a vibrant mess-
age to give to the country. It ad-
vocates a complete industrializa-
tion of the country from a national
viewpoint. The story has a power-
ful motive, being serious in design,
but it is made entertaining, being
light in execution. In the present
day dawn of our nationalism, such
a picture would have been warmly
welcomed for its stirring national
message had its presentation been
better.
The Story: Manorama is the spi-
rited daughter of a wealthy Mar-
wari speculator, who soon loses all
money in gambling bringing tra-
gedy into the family by his own
death and by the death of his own
son and wife. Manorama and
Malti, her younger sister become
orphans and are thrown on the
streets by the creditors of her
father. Manorama hunts out for
a job, and finding none in the so-
cially permissible vocations, she
takes up to screen acting. There
she meets Suresh, the son of a
Marwari millionaire. Suresh is the
film director of the Company and
has taken the film line inspite of
the opposition of his father, who
has driven the son out of the house
in consequence. In Suresh, Malti
meets a twin soul as both have
identical ideas about the emanci-
pation of the country by industria-
lization. Through several exciting
circumstances, Suresh at last finds
himself the proprietor of a film
company, started with a gift from
his indulgent parent, and with
Manorama as the leading star.
Financial difficulties soon embarass
the hero, who has to put up with
a general strike by the employees.
Complications created by a jealous
villain in Jagdish, set in and the
story rushes to one concluding cli-
max where Suresh's father is ask-
ed to choose between jail for his
son and a change of heart and
opinion about the wisdom of in-
dustrialization of the country. He
backs up his son and Suresh and
Manorama are once again reclaim-
ed by the family, with a new-born
child thrown in, to add the homely
warmth to a delicate romance.
Acting: Shobhana Samarth as
Manorama gives a beautiful per-
formance. At places it is too
beautiful for words. Her dialogues
are forcefully and correctly deliver-
ed while her actions are full of life.
In giving the best performance of
her screen career so far Shobhana
has also ably supported Prem Adib
whose role as Suresh, the hero is
also a successful portrayal. Baby
Indira as the younger sister prove3
piquant and lively, Vasti as Jag-
dish the villain, in a rather weak
role, gives a tolerably good per-
formance. Singh is superb as tho
Marwari father of the hero. The
concluding sequences he carries to
44
MEERA —
When she bursts into a song, the theatre becomes a heaven. And she does that
three times in "Bhabi" the new social picture of Bombay Talkies Ltd. now drawing
crowds at the Roxy Cinema, Bombay.
ft
January 1939
FILM INDIA
success on his shoulders. Aundh-
ker is utterly stagy and fails to
convince with his defective and
affected accent. Mirza Musharaf
is at times a welcome relief as a
slapstick comedian.
Production: The continuity is a
jumble of ideas, and several se-
quences have been unnecessarily
stretched. The direction is pain-
staking throughout but hardly
imaginative. The dialogues being
pointed and purposeful provide the
high spots of the picture. The pic-
ture needs some drastic editing to
assemble several scattered thoughts
into a thought provoking pleasant
theme. The lofty conception of
the central theme however covers
several minor defects.
Points of Appeal: Several indus-
trial problems are treated however
with a touch of novelty. The light
treatment while providing com-
plete entertainment does not at
the same time fail to be forcefully
I instructive. Shobhana's perform-
ance leaves behind a pleasant me-
mory not to mention the superb
backing up given by Prem Adib.
"DOUBLE CROSS"
Producers: Bhavnani Productions
— Story, Scenario and Direction:
M. Bhavnani — Music: Badri Pra-
sad — Photography: Berko and
Mistry — Recording: Behram Bha-
rucha — Dialogues: Rai Mohan —
Processing: V. S. Marathe — Cast:
' Bimla Kumari, S. B. Nayampalli,
Fatty Prasad, Amina, David and
> others — Released at: Super Tal-
• kies, Bombay — Date of Release:
l 24th November 1938.
A detective story fashioned after
the Western "Quickies", this pic-
I ture is essentially meant to meet
the box-office demand for such
1 fast pictures which appeal to the
lower classes. It is unfortunate
that after 25 years of film pro-
duction, our producers have still to
give such pictures to balance their
economic existence. There is no
other serious motive in this parti-
cular picture except that of provi-
ding entertainment with some ex-
citement and a bit of laughter in
• a. plot familiar to all.
The Story: A scientist in Pro-
fessor Mukerji has struck upon the
formula of making artificial dia-
monds. Sister Romila is overjoyed
at this, but the information soon
leaks out and Romila's uncle Ro-
mesh Chandra, a speculator having
a large number of shares in the
Orient Diamond Mines is on the
brink of ruin owing to the sudden
reaction on the stock market cau-
sed by the inventor. Romila has
to choose Kapur, an ungainly as-
sistant in the Orient Diamond
Mines as per prospective hus-
band, to save her uncle and to help
her brother. And now the sequen-
ces draw in a native state of Pani-
pur and a villain in the shape of
Sardar Mulkraj is introduced. He
wants to ruin the owner of the
Renuka Devi, the star of "Bhabi" a
Bombay Talkies picture.
diamond mines who is helping the
young King of Panipur against the
Sardar. The Sardar tries to get
the formula from the Professor and
in his attempt to get it, the picture
becomes a detective yarn. Of
course, he ultimately fails and Ro-
mila and Kapur are married with
everyone happy in the end.
Acting: Nayampally as the Sar-
dar gives |his stock performance
with a diction that needs two
years more to be perfect. Bimla
Kumari as Romilla is harshly
treated by the camera, but she
gives a couple of good songs. Fat-
ty Prased creates, a few spots of
weak laughter in association with
Amina, who looks more like a
man in a woman's garb. She seems
to be perfectly unsuitable for the
screen. A. S. Gyani gives a pretty
good performance but finds it
difficult to get over his Sindhi way
of speaking Hindusthani.
Production: In a picture of this
kind, a bit of crudeness is taken for
granted. The photography is ra-
ther amateurish and sound record-
ing has numerous defects. The
processing is also faulty. The sub-
ject hardly calls for any directorial
touches, and the director seems to
have got rid of his responsibility
as quickly as possible. The music
however, is good, being popularly
tuned. Song No. 2 sung by Bimla
is definitely pleasant to hear. The
dialogues are common but the song
compositions are well rhymed,
though they hardly show any
flashes of intelligence.
Points of Appeal : Bimla Kuma-
n's good singing is pleasant to
hear. The slapstick look of Fatty
Prasad may appeal to the children.
Though the mystery in the picture
is too obvious, yet some peoplo
might like the detective trend of
the story. The speed of the picture
is another selling argument.
"BHABI"
Producers: Bombay Talkies Ltd.,
—Screen Play: Saradindu Baner-
jee — Direction: Franz Osten— Pho-
tography: Wirsching & Pareenja:
Recording: S. B. Vacha— Music:
Saraswati Devi — Dialogues and
Songs: J. S. Casshyap; Cast: Re-
nuka Devi, Jairaj, Meera, Maya
Devi, M. Nazir, V. H. Desai, Rama
Shukal etc., Released at: Roxy
Talkies, Bombay.— Date of Release
17th December, 1938.
This picture is like a beautiful
perfume that does not intrude.
Beautiful in conception and neat
in execution the story is a mas-
terly blending of soothing pathos
and elevating romance. It is a
harmonious poem of picturization
with every sequence courting ami-
ably with the other. The theme
47
FILM INDIA
is a mild satire on society but does
not annoy or provoke at any
stage and leaves behind a pleasant
impression.
Renuka Devi is a remarkable
discovery as a star of the screen.
Her performance has that distinc-
tive grace and poise which can
only be associated with a lady of
culture and education. Her per-
sonality has a fragrance that we
so often miss on the Indian
screen. Renuka must be seen of-
tener on the screen. Bombay Tal-
kies owe this to their fans.
The Story: The story opens
with Tirath a poor young man ly-
ing on his death bed. Tirath's
death would make Bimla, his
young and beautiful wife an orp-
han. The thought of her being
left unprotected at the tender
mercies of a cruel and unkind
world makes the approaching
death look horrible to Tirath. Ki-
shore, his old college friend, rushes
to his bed side and promises to
look after Bimla in spite of the
world. Tirath dies. Bimla is now
in the charge and care of Kishore.
They are staying together — she a
poor and beautiful widow and he
an unmarried young man. Scan-
dal starts and tongues begin to
talk. Kishore's father, a religious
fanatic, hears of the scandal, ar-
rives in town and surprises his
son. A hot interlude and Kishore
is disinherited and disowned. Bim-
la is still with him as the sacred
trust of a dear departed friend,
in spite of the slandering tongues.
And now by coincidence, Kishore
comes across Renu the only daugh-
ter of a wealthy doting father. Love
sees and responds, etc., etc. But
in Anupam a young waster, their
love gets its acid test. Through
scandal, separation and heart-
burnings, the story moves to num-
erous beautiful locations, till it
reaches one beautiful climax
where love triumphs and scandal
dies. Indeed, a 'beautiful story-
soothing ana suggestive.
Acting: Renuka Devi as Renu
the heroine of the picture is al-
most a beautiful vision of grace
and charm. Her performance has
to be seen to be appreciated. She
doesn't merely act, but lives her
part to perfection. Stepping
gracefully out of the screen, she
glides charmingly into the heart
of the audience to stay there as a
gentle memory with a soothing
ache. Bombay Talkies have found
another Devika. Meera as Bela
flutters well as a society butter-
fly, while Maya as Bimla the young
widow lives up to be a symbol of
stoic resignation. Three different
women but three different types
and all interlinked cleverly with
the life of the hero— none too
much, none too less— and yet there
all the time, seen or felt, that is
the finesse in the art of story tell-
ing, which one finds in this pic-
ture. Jairaj as Kishore gives a
good, vigorous portrayal punctuat-
ed at times with suppressed rage
or grief. Rama Shukul is a good
addition to the Indian screen. As
Anupam, the main obstacle in the
whole scheme, he turns out to be
a successful nuisance. And can
we forget V. H. Desai as the ner-
vous father of the heroine? In a
light character portrayal, this
graduate of law is superb. He may
have failed in our law courts, but
on the screen, No! He provides
many a tickle with a humour
that excites a smile but does not
provoke a laughter.
Production: Photography, re-
cording or other technical work is
beautiful. Editing is clever. Franz
Osten has excelled himself in di-
rection. It is subtle and clever.
The dialogues are intelligent and
intriguing. The music is plea-
sant. The beginning of the pic-
ture is rather slow, and in between
there are a couple of slow sequen-
ces. But barring this, which can
hardly be called a defect, the pic-
ture deserves every praise that can
be given.
Points of Appeal: Renuka's per-
sonality and performance should
not be missed under any circum-
stances. Meera's songs are sung
with a lilt peculiarly her own.
And the story and its treatment
are by themselves worth more
than you may pay for. The pic-
ture has entertainment and ins-
truction. Make it a point to see
it.
January 193{'|
"FILMINDIA" AGITATION
VINDICATED
(Continued from page 13)
censure in the correct spirit in
which it was meant, he is report-
ed to have said as follows : —
"I would like to have an official
ruling as to what episode of Bri-
tish history we can now make intf
a film. I made "The Life of Nel-
son"— with Admiralty co-operation
— and the French weren't annoyed.
The Admiralty lent me H.M.SJ
"Tiger" to make the "Flag Lieute-
nant" about a British garrison be-
sieged in the Persian gulf — and the
Arabs weren't annoyed. The War
Office lent me troops to make
"Mademoiselle from Armentiers''—
and Germany wasn't annoyed.
The Residency in Lucknow is still
preserved as sacred ground. The
flag which flew during the sie?,c
has never been lowered since 1853J
My story was in memory of the
birth of co-operation between the
two nations. Half the troops whoj
defended the white women and]
children in Lucknow were Indians."!
Admitting that "that the flag
which flew during the siege hasi
never been lowered since 1858."
thanks to the diplomatic sense of
the British, we may as well point
out that the danger to the flag
would unnecessarily be hastened if
men like Maurice Elvey start
thinking loudly in the way he has
done.
NOTICE
Excellent site for FILM STUDIOS,
10 miles from Bombay, Ideal sur-i
roundings, 4 double storied bunga-
lows, 2 flat bungalows; 3 chawis
with all modern conveniences; the
complete land admeasuring 21,000]
square yards to be given ON'
LEASE.
For full particulars write oo:
DULERAI & CO.,
22, Apollo Street, Fort, Bombay.
Phone No: 23315.
48
Studio Close - Ups
SAGAR MOVIETONE:
The studio has several pictures In
hand just at present. Director
Luhar has completed "Service Ltd.*'
while Director Badami has kept
"Ladies Only" ready for release.
'Director Nandlal whose services
lhave been specially requisitioned
ttor a big costume picture is for the
present busy with a social subject
to be produced during the interval,
(during which time preparations
will be made for that superb pro-
duction "Prithvi Vallabh", a novel
by the Hon. Mr. K. M. Munshi. The
scenario of this story is being writ-
ten by Mr. Baburao Patel, Editor
iif "Filmindia".
i Director Virendra Desai has
Already started shooting his
pew social picture. Director
.Vlehboob's social picture is now re-
ceiving finishing touches and is
ikely to come to the screen some-
'jime in the month of February.
itiANJIT MOVIETONE:
"Professor Waman M.Sc", direct-
ed by Manibhai Vyas was released
U the West End Cinema on the
' Oth of December to a very appre-
ciative crowd which unanimously
proclaimed it to be a good detective
Harn produced efficiently.
At the studios Director Jayant
|)esai is shooting the last scenes of
Sant Tulsidas" while Mr. Chandu-
al Shah is taking the indoors of
Achhoot". Director Kardar's pic-
ure has been christened "The
pck" and is likely to grace the
creen sometime in the month ol
larch.
Chaturbhuj Doshi has taken up a
|ocial subject with a theme which
e says is unusual and not so far
pen on the screen. Let us believe
im.
.OMBAtf TALKIES:
Crowds going to the Roxy an-
lounce the release of "Bhabi" the
iew picture of Bombay Talkies fea-
ijring Renuka, Meera, and Maya,
"he change of cast and the supply
of variety in talent seem to have
attracted success for this picture.
At the studios, Mr. Himansu Ral
is busy with a new social subject
which will go to the studio floors
for shooting within a week or so.
WADIA MOVIETONE:
Director Ghadialli is giving
finishing touches to "Jungle King"
which is expected to come on the
screen by the time this issue is in
your hand. Mr. Raja Yagnik's
"Vijay Kumar" is now in the edit-
ing room and will be ready for the
screen in the first week of this
month. Other pictures under
shooting are "Punjab Mail" under
the direction of Mr. Homi Wadia
and "Jai Swadesh" by Mr. Aspi
Irani.
GENERAL FILMS:
"Industrial India" directed by
Mr. Mohan Sinha proved to be po-
pular at the Royal Opera Hous^,
and its theme had particular at-
traction for the intellectuals of the
city. Director Gunjal who has
taken over charge of " Pati Patni"
Is now giving it the finishing
touches and once again we might
have the chance of seeing a really
good picture featuring Sobhana
Devi Samarth, who has given such
an excellent performance in "In-
dustrial India".
The Fazalbhoy Brothers have
big plans for the future, to be cor-
rect, already in hand, and some of
these plans are likely to bear fruit
In the near future by way of an
amalgamation with another big
studio in the city.
RUBY PICTURES:
"Prem-ki-Jyot" which is consi-
dered to be an extraordinarily
good social picture by certain cri-
tics, is entirely ready and censored
for the screen. It is expected to
come at the Imperial Cinema in
Bombay sometime in the month of
February, after "Zamana". which
is running at present, completes
its run at the said theatre.
Mr. D. Billimoria and Madam
Sulochana are now concentrating
on a new social subject to be taken
in hand in the second week of
January.
MINERVA MOVIETONE:
"Talaq" and "Pukar" two new
pictures are fast nearing comple-
tion under the able supervision of
Mr. Mody. "Talaq" which will be
completed in a short time is ex-
pected to be released at the Krish-
na Cinema in a very short time.
KRISHIN MOVIETONE:
"Zamana" a powerful social pic-
ture based on the evils of the
dowry system amongst the Hindus
and directed by Mr. Ram Daryani
was opened on the 10th December
at the Imperial Cinema by Mrs.
Lilavati Munshi, M.L.A., in the pre-
sence of a very large crowd of edu-
cated citizens of Bombay.
The picture created a big sen-
sation owing to its novel treatment
of a very pathetic theme in which
Padmadevi has given a superb per-
formance in a role full of pathos
and tragedy.
The vast audience was moved to
tears and the success of the pic-
ture is assured at all places.
PRAKASH PICTURES:
"Mr. X" starring Ratan Bai, a
picture directed by Mr. Khosla is
booked for the Super Talkies and
will come on the screen by the time
this is in print.
EVEREST PICTURES:
Ezra Mir is now shooting "Sita-
ra", a gipsy story in the interiors
at the Film City. He expects to
finish the picture by the end of
January and it will come on the
screen sometime in the month of
February. The music given in this
picture, by Mr. Rafique Guznavl is
considered to be the best effort of
this talented music director and
already people are found whistling
the attractive tunes.
BHAVNANI PRODUCTIONS:
"Double Cross' was released at
the Super Talkies during the month
and because of its being a detective
thriller it received good support
from the lower classes. Mr. Bhav-
nani is now thinking of producing
another social thriller with Bimla
Kumari in the lead.
49
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January 1939
FILMINDIA
PARAMOUNT FILM CO.:
"Midnight Man" directed by Ki-
kubhai Desai has brought home
very good reports of succcess not
only from Bombay but from Delhi
and other distant places regarding
its box-office merits. "Madhu Ban-
sari" is the next item on the pro-
gramme of releases and the picture
will take about a month more to
be completed. Under the capable
direction of Mr. Nanubhai Vakil,
Sarojini who is featuring in the
picture is reported to have given a
very good performance.
In addition to all these the stu-
dios are busy with "Amazon"
'Golden Gang" and "Adventures of
Sheik Challi".
MOHAN PICTURES:
Director K. Amarnath has com-
pleted "Midnight Mail", a mystery
thriller featuring Yasmin, Gulab,
tfazir and Indurani. It is shortly
to be released In the city and the
producers expect it to be a big sue
:ess. Director A. M. Khan is busy
with two pictures namely "Lady
Davalier" and "Ransangram".
Sverything seems to be in a joyful
nood in the studio, as reports keep
>n coming of the huge box-office
•eturns of "Cyclewali".
POONA
SARASWATI CINETONE:
Director Chowdhary is giving his
final finishing touches to "It's
True" a social picture with a theme
centering around untouchability.
The picture has some beautiful out-
doors from Benares and Indian
cine-goers would incidentally en-
joy the privilege of a free pilgrim-
age when the scenes are unfolded
on the screen.
The other unit in the studio
under the leadership of Mr. Nana-
saheb Sarpotdar is busy with the
shooting of "Bhagwa Zenda" a Ma-
ratha historical full of action
and costumes.
PRABHAT FILM CO:
Director Kale's "My Son" which
was released during the month at
the Central Cinema in Bombay did
not prove such a box-office draw
as was expected. Affairs therefore
at the studio are being very care-
fully planned for Mr. Shantaram's
next picture.
Director Shantaram is taking up
a social story written by Mr. A.
Bhasker Rao with dialogues from
Mr. Kanekar. Mr. Shantaram ex-
pects to give a powerful social story
to the numerous Prabhat fans.
KOLHAPUR
HUNS PICTURES:
"Brahmachari" is running like a
mad riot in the city carrying every-
thing before it to a huge success.
Apart from the commercial profits
earned by the company, Director
Vinayak has become the popular
hero in the eyes of the people, at-
tracting attention wherever he
moves in Bombay or Poona.
In keeping with this new found
reputation as a good director he
has once again done the double by
giving another sensationally good
picture in "Devata" produced with
a story of Mr. Khandekar. All
those who saw the preliminary
trials of "Devata" have indulged in
unanimous praise and with excu-
sable exaggeration. The next item
on the production programme of
Huns is called "Search for Happi-
ness", the story of which is writ-
ten by Khandekar again.
ARUNA PICTURES:
Researsals of "Netaji Palkar"
bave now been completed and the
picture has gone into shooting in
the last week of the last month.
The musical portion of this pic-
ture is reported to be very attract-
ive and adding to it the usual di-
Photo taken on the occasion of Mr. Goyder's visit to the Abdulla Fazalbhoy Institute, Bombay. From
left to right: 1. Mr. M. A. Fazalbhoy, 2. Mr. C. W. Goyder (Chief Engineer, All India Radio), 3. Mr. Y.
A. Fazalbhoy, 4. Rev. Father Palacios S.J., (Principal, St. Xavier's College), 5. Mr. A. G. Bhate (Secre-
tary of the Institute).
51
FILMINDIA
January 193?
rectorial genius of Mr. Pendharkar
"Netaji Palkar" is expected to be
a roaring box-office success.
CALCUTTA
NEW THEATRES:
"Dushman" is being shot steadily
and the final big scenes have Peen
recently taken with plenty of In-
teresting songs from Leela Desai
and others. Miss Leela Desai Is re-
ported to have given a wonderful
dance taken in 82 different shots.
Director Mullick is busy with
"Bar-Didi" while Phani Muzumdar
is shooting some out-doors of "Ka-
palkundala". "Snake Charmer" in
Hindi and Bengali is a gipsy pic-
ture and is being shot regularly in
the out-doors.
FILM CORPORATION OF INDIA:
They announce the shooting of
"Rise", a new picture which is sup-
posed to be the successor to
" Asha". We only hope that it be-
comes a really good successor and
does not disappoint like their
maiden picture.
SOUTH INDIA
PONNAMBALAM PICTURES,
(Coimbatore) :
"Eknath" is reported to have
drawn good houses when it was re-
leased in the mofussil last month.
The future programme of the
company is not known.
CENTRAL STUDIOS,
(Coimbatore) :
"Rambha's Love" is ready for re-
lease. The next picture that will
soon go into production is called
"Bhaktha Prahlad" with Master
Mahalingam in the lead.
JAYA FILMS, (Madras):
"Vimochan" should have been on
the screen by the time this issue Is
in your hand. Two telugu pictures
in "Kalidas" and "Mahananda"
have already gone into shooting
and the producers expect a lot
from them.
VAUHINI PICTURES, (Madras):
" Vande Mataram" is fast near-
ing completion. From the reports
that we receive and from the ad-
vance publicity that the producers
are giving to the picture, there is
no doubt that the picture will prove
a paying proposition to the produ-
cers.
MADRAS UNITED ARTISTS
CORPORATION:
Director Subramaniyam is fast
progressing with the shooting ot
"Thyagbhoomi". With S. D. Subba-
lakshmi, Baby Saroja and Papana-
sa Sivam in the lead, this one it
expected to be the box-office hil|
during the 1939 programme of vti
leases.
MOHAN MOVIETONE, (Madura):
"Yayathi" produced at the Filn
Corporation of India Studios I
Calcutta and directed by Mr. Tam
don was reported to be runninf
rather well. Backed by good pub
licity in the South, this pictun
should pay back to its producer
its 'cost', if everything goes on welli
Let us hope so.
MAHALAKSHMI STUDIOS,
(Madras
"Inbasagaran" is now ready fo
release. "Prem Sagar" in the Hin
di version is now in the editini
room and by the time this is ii
print it ought to be ready for tto
screen. The future programme o
the studio is not yet announced.
JUPITER PICTURES, (Tirpur) :
"Orphan Girl" was released i;
the Crown Talkies last month to
very appreciative audience. Mr. M,
K. Radha is reported to have ex
celled himself in this picture.
A shot from "Imperial Mail" produced by Indra Movietone. The one in the centre is Gulshan
52
MIDNIGHT MAIL
Featuring: Yasmin, Nazir, S. Nazir, Miss
Indurani, Miss Gulab, Master Gulam Kader,
Master Shirazi etc.
Directed by: K. AMARNATH
MOHAN PICTURES SCREEN
HITS OF THE YEAR 1939
RATNA LUTARI
Featuring: Miss Romilla, Kanta Kumari,
Chandrakant B.A. and Haroon.
Directed by: A. M. KHAN
RAN SANGRAM
Featuring: Kanta Kumari, Chandrakant B.A.
and Haroon.
Directed by: A. M. KHAN
JUNGLE KA JAWAN
Starring: RAJKUMARI & VAZRE
Directed by: CHUNILAL PAREKH
drawing crowds at the
GLOBE TALKIES: BOMBAY.
BHEDI KUMAR
Featuring: Miss Indurani, Yeshwant Dave,
Urmilla Devi, Baby Indira, Shirazi and
Haroon.
Directed by: CHUNILAL PAREKH
For bookings apply.
Messrs. Ramniklal Mohanlal & Co.,
Khetwadi Main Road, Bombay - 4.
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I
E R V A
TALKIES
BOMBAY
TACKLING THE
PROBLEM OF INDIA'S HEALTH
Comes
THE
Directed by:
Sjt. NITIN BOSE
•
Music by:
Sjt. PUNKAJ MULLICK
•
Starring:
Saigal, Leela Desai, Najamul Husein,
Kamlesh Kumari, Prithviraj b.a.,
K. C. Dey, etc.,
UndeA Production, :
(0) BLAZING WITH NEW
TRAIL OF HUMAN EMOTIONS
ome»0
▼
Releasing organization :
Snake - Charmer
(SAPHEBA - *n*0
★
Directed by:
Sjt. DEVKI BOSE
•
Music by-.
Sjt. R, C. BORAL
•
Starring:
Kananbala, P. Sanyal, Prithviraj p,.a.,
Nawab, K. C. Dey, etc.,
CALCUTTA FILM EXCHANGE
Tribhuvan Rocil,
Bo ail lb ill Xo. 4.
A S A R A S ¥ A T I CINETONE EPIC-
LAVISH, SPECTACULAR, BREATH— TAKING-
HUMAN HEARTS AT THE MERCy OF TRADITION
WHERE LOVE WAS SIN SIN WAS VIRTUE-VIRTUE WAS—?
ITS TRUE IT'S COMING ITS TRUE !
A DADASAHEB TORNEY PRODUCTION • Dittributors: KAPURCHAND LTD, BOMBAY
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GIRL ON THE COVER
ILA DEVI
in
BAZIGAR
(Ranjit)
Proprietors : Filmindia Publications Ltd.
104, Apollo Street, Fort, BOMBAY.
Editor: BABURAO PATEL
Vol. 5
FEBRUARY 1939
No. 2.
GIVE US A SQUARE DEAL
With the National Planning Committee plan-
ning the industrial future of the country, it is
necessary to define the place and purpose of the
Indian film industry in the future planning of a
new nation. •
The Indian film industry is 25 years old this
year. Today it employs over 40,000 people in its
different branches. Over 17 crores of rupees have
been so far invested in the Indian film industry.
We have over 1300 cinemas spread over the coun-
try, including touring cinemas and over 40 regu-
lar film producing companies. We have nearly 85
journals and periodicals solely devoted to the
industry. Every year the Indian film industry
requires raw films worth over 40 lakhs of rupees.
The machinery and accessories we buy from
foreigners every year cost us about 20 lakhs of
rupees. And with all this material, our film in-
dustry produces about 200 films per year. The
industry spends every year on these pictures
Rs. 2,00,00,000 at the average rate of Rs. 1,00,000
per picture.
Now let us see what the industry pays out
by way of taxes, duties, interest and advertise-
ment.
In 1937-38 over Rs. 2,00,000 were paid as im-
port duty on machinery.
F I L M I N D I A
Over Rs. 4,66,451 were paid as import duty on
raw films.
Over Rs. 15,00,000 were paid to the railways
for transit.
In addition to this nearly 20 lakhs of rupees
were paid out as income-tax to the Central Gov-
ernment. Add to this the entertainment tax paid
to the different provincial governments (which
works out at 10% of the gross takings), electric
tax (generally heavier for the film industry than
for the others.)
In short it is assumed that the Indian film
industry has been giving to the Government
nearly half-a-crore of rupees every year in dif-
ferent taxes and duties. Since 1929 up to now
the Government must have received over 5 crores
of rupees from the Indian film industry, apart
from previous revenue which cannot be assessed
for want of sufficient statistical information.
As against this revenue during all these years,
the Government has spent exactly Rs. 1,93,900 in
appointing the Cinematograph Enquiry Com-
mittee in 1927, the report and recommendations of
which Committee have been shelved as usual.
In addition to all these taxes and payments to
public utility concerns such as the Railways and
the Electric Companies and minor taxes to the
local bodies like the municipalities and the Local
Boards, the Indian film industry pays out nearly
45 lakhs of rupees per year to the newspapers in
advertising alone.
And just because of all this, the Indian film
industry ranks seventh in importance and is con-
sidered a key industry.
An industry with these vast country wide
pi'oportions and influence must find an important
place in the scheme of national planning.
In Germany the film industry is controlled
and aided by the Government. It is an all import-
ant instrument of propaganda and education. In
Italy, the industry is also controlled by the Gov-
ernment to build a new nation, while to the Soviet
the film has been one of three important planks
of national propaganda — the other two being the
press and the radio. The French. Government has
4
February 19:i
been spending a large amount every year to pm
duce more and more educational pictures. Evt!
the Government of the United Kingdom has bee
providing protection to its national film industi
by a Quota Act, Tariff barriers and the Cinem j
tograph Act of 1927, (which has been recent',
revised) .
The world and other nations have been tr;
veiling fast to protect their film industry and u:
it to the full for educating their people and coi
solidating their national ideals.
India has been doing nothing of the sort i
far. The Government has been merely pocke
ing a huge revenue from year to year for the la;
25 years.
The National Planning Committee must tal
this matter in hand seriously. Some of the pr<
blems which should recommend themselves 1
the attention of the Committee are as follows:-
1. Quota Act — to enforce exhibition of a ce
tain percentage of Indian films in all theatres-
to enforce compulsory exhibition of newsreel
documentary and educational films in all theatn
as a side programme with the main feature.
2. State aid for the production of newsreel
educational and documentary films.
3. Supplying projectors to schools, college!
and industrial institutions for the spread of visu,
education and the national language (Hindusth
4. Providing a Central Advisory Board f<
the Indian films on the lines of the British Fil j
Institute.
5. Establishing a Central Technical Institu
for the training of talent and for carrying on fu
ther research.
6. Grant of scholarships for technical trai
ing overseas.
7. Grant of medals and awards of merit f|
a certain standard of efficiency and new researi
work.
8. Establishment of a State Bank for tl
financial backing pf the industry.
bruary 1939
FILMINDI A
9. Preventing foreign financiers from obtain-
rg control over Indian film industry. (This dan-
fc is imminent now).
10. Protective tariff in imports of films and
ichinery.
11. Increase of valuation and duty on ex-
;ed films.
12. Establishing a factory for manufactur-
; raw films and other photographic materials,
eferably a state-aided concern.
13. Stopping the foreigners from securing
teatres or a chain of theatres, as is being slowly
stfne at present.
14. Banning and generally overhauling the
cnsoring rules to keep out pictures ridden with
sx and crime.
15. Investigating possibilities of foreign
rarkets for Indian films.
16. Scrapping the entertainment tax and re-
qcing electric and other charges proportionately.
17. Providing unemployment insurance.
18. Stricter enforcement of the Workmen's
Gmpensation Act and the Factories Act.
vling
19. Licensing the theatre operators and pro-
to them facilities and protection.
These are some of the problems which the
Iitional Planning Committee must face when
teparing their plans for the Indian film industry.
The object of National Planning is to improve
tie life of the community, mould its economic
cistence, widen its outlook on life, provide it a
ijgher stake to live and compete, secure equitable
retribution of the rewards of labour and last but
' it the least, create a patriotic desire for the
hilding of a new nation. And for all this, what
ae can be a more powerful instrument of pro-
banda than a cinema film?
"Young as the industry is, the burden of its
tture development rests upon the provincial
fvernments whose concern it is to surround it
vth conditions calculated to promote its growth
ad popularity." These remarks in the recent
<mmunique issued by the Government of India
while clearly defining the rights of the provin-
cial governments also throws on them a great res-
ponsibility.
Will our film industry get a square deal? Let
us wait and see.
MR. HIRLEKAR'S PIONEERING
CONTRIBUTION
Unless one finds out for himself the unfor-
tunate fact that it is almost next to impossible to
get any correct information and collect the vari-
ous statistics about our film industry either from
the different governments or from those actually
working in the industry, one cannot realize the
importance of the invaluable contribution of Mr.
K. S. Hirlekar in publishing his new booklet
"Place of Film in National Planning".
In a foreword to this all important log of
reliable facts and figures about the industry, the
Hon. Mr. K. M. Munshi, the Home Minister to
the Government of Bombay says "Mr. K. S.
Hirlekar, who has considerable experience in the
subject and has taken pains to study the question
from all its aspects has written a thought provok-
ing pamphlet. It gives an idea to the reader as
to the role, the film has played in other countries
of the world and what are the difficulties in the
way of its playing a similar role effectively in
India."
Written in an unmercifully patriotic spirit the
little book bristles with facts and figures eloquent
of the apathy with which the Central and the
Provincial Governments have so far looked at the
Indian film industry.
We recommend the book to all serious stu-
dents of our film industry, but particularly point
out its significance as a practical help to the
National Planning Committee.
THE PRICE OF POPULARITY
The price of a single copy of "filmindia" will
be eight annas from the month of March. The
annual subscription will however remain the same
—that is Rs. 5 per year for inland and Rs. 8 for
foreign countries.
Why has the price to be put up? Well, popu-
larity has its own price. The sales of "filmindia"
have been going up for the last 18 months and
FILM INDIA
February I
to-day its overwhelming popularity threatens to
cut down its existence if we continue to sell the
copies at the old price.
We do not want to make large profits nor do
we want to lose on it. In this business of publish-
ing magazines, as soon as a periodical becomes
popular the cost of paper and printing increases,
while the revenue from advertisements and sales
practically remains the same. It does not there-
fore pay to sell more copies, unless we increase
the price and allow the demand to grow.
"fllmindia" being a profusely illustrated
magazine with an excellent get-up becomes an
expensive publication. To keep the old price
would compel us to reduce the standard of pro-
duction which we are sure our readers would not
like.
The only alternative therefore was to raise
the price, which we hope our readers will accept,
with their usual spirit of friendliness.
The new price is prompted by our anxiety to
give to our readers a better magazine every
month.
Subscribers' Prize Scheme.
The Result
The prizes are awarded as follows to
the following subscribers. Subscribers
holding the winning numbers are request-
ed to forward their copies, in tact without
tearing the page, to our office before the
15th April 1939 and the prize amount will
be remitted by M.O. After the 15th April
1939 no claims will be entertained.
1st Prize
2nd
3rd
4th
5th
Copy No. 3865
2846
850
3867
961
The next 20 prizes are awarded to the
following numbers: 2305, 3485, 4506, 4448,
3396, 3864, 2843, 2878, 3869, 4932, 4937, 4205,
4218, 3250, 2300, 3167, 3148, 4925, 4230, 2845.
f !' — ' " >— — m — ■ - «m\"
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of fresh active Oxygen which acts on the pigment and gradually bleaches the
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The presence of other useful emolients in CREMOZON makes it exceedingly
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♦ Bombay Calling r
litis section is the monopoly of "JUDAS" and he writes what he
likes and about thing's which he likes. The views expressed here are
not necessarily onrs, but still they carry weight because they are
written by a man who Knows his job.
RDAR OF THE INDUSTRY
We do not like to use foreign parallels when we
/e in our country men who even without the luck
1 opportunities of those foreign dictators like
ler, Mussolini and Stalin, have in them the power
sway the nation with their utter sincerity and
xiotism. One of such great men is Sardar Vallabh-
li Patel a symbol of discipline and power, in grim
•suit of the patriotic ideal of liberating our coun-
To us the Sardar is worth more than all those fo-
>n dictators put together. The Sardar is also
3wn for quick decision and grim determination.
In the last one month the industry has jumped
ear ahead in activities. A month back men were
;ping and things were
lg in a dull stupor. Then
ne the eloquent and stir-
g appeal of Mr. Chan-
lal Shah to all in the
lustry to wake up and
JBebrate the Silver Ju-
lee of the Indian film
lustry. Mr. Shah want-
to vindicate the pro-
ss of 25 years by
anising a stunning
>w that would take the
ath away from our foreign competitors and open
eyes of the authorities and the people by stress-
the importance of the film industry in the life of
ation which is still groaning under the shackles
foreign bondage.
In a day things changed, and the irresistible en-
siasm of Mr. Shah took the others by storm and
h a submission and unity unknown to them be-
they all fell in a line to make the Silver Jubilee
ibrations a grand success.
Meetings upon meetings, for the first time fully
ded. were convened. Complete unanimity ruled
1 decisions were taken and resolutions were passed,
ss sheets went out to the papers with hot news of
activities and the industry began to throb once
in with new life. All under the Chairmanship ot
Chandulal Shah, who ruled out objections with
left gesture that would do honour to Chanakya.
was some achievement to bring together the dif-
nt warring elements who had constantly quar •
;d amongst themselves goaded by jealousy, under
banner of a common celebration.
Sardar Chandulal Shah
The recent press communique issued by the Gov-
ernment of India, right in the wake of a deputation
that waited upon the Hon. Commerce Member, Sir
Mahomed Zafarulla Khan under the guidance of Mr.
Chandulal Shah is the direct result of the agitation
and propaganda by the Indian Motion Picture Con •
gress.
Let us go a little behind the scenes to give our
compliments to the man who deserves them for these
unique results. When the proposal of leading a de-
putation to the Hon. Commerce Member came up for
discussion before the Executive Committee of the.
Motion Picture Congress, the majority, not realizing
the far reaching importance of such propaganda,
seemed definitely set up against the idea.
And for two hours the pros and the cons were
discussed with no decision. It was the moment for a
strong man to step in with grim determination. Mr.
Chandulal Shah stepped in and in doing so stepped
on the opposition, with the result that the deputa-
tion was ultimately led with such significant and im-
portant result as is embodied in the press commu-
nique of the Government of India.
We are sure that Sardar Chandulal Shah will
make the Silver Jubilee Celebrations a success, even
if it comes to only one man doing it. That is grim
determination and sincerity of purpose.
Are we wrong in calling him the Sardar of the
Indian film industry?
HULLO! DR. GILDER?
Once again we find an unholy mess in the tim-
ings of our cinema shows. Since the order of the
Commissioner of Police to close down all the cinemas
in the city by 12-45 a.m., the timings of the shows
have become so erratic and unregulated that it is al-
most next to impossible for the audiences to arrive
in good time for any show.
The first matinee show on holidays starts any-
where between 1-30 and 2-30. The variations in this
range are 1-45, 2, 2-15. The usual first show on a
week day starts between 4 and 5-15. The second show
shifts between 7-15 and 8 p.m., while the last show
may begin anywhere between 9-45 and 10-30 p.m.
A collection of the advertisements for the shows
gives the following timings: 1-30, 1-45, 2, 2-15, 2-30; 4,
4-15, 4-30, 4-45, 5, 5-15; 7-15, 7-30, 7-45, 8; 9-30, 9-45,
10, 10-15, 10-30. It is just mere luck that they don't
begin a show at 10-35i minutes.
9
FILMINDIA
February 19
The whole affair is too stupid and betrays a lack
of unity in thought and action between the different
departments of the film industry.
It is needless to state that the audience which
never knows when the shows will really begin, soon
gets tired and disgusted, with the inevitable result of
a poor collection at the box-offices.
An appeal for commonsense has proved useless
in the case of the distributors or the exhibitors of the
city.
But there is another side to this question, which
must recommend itself to the attention of the Gov-
ernment.
As a general rule, Indian film programmes take
2i hours for a single show. Some programmes are
even longer.
This long programme, with the present show
timings rubbing against one another, compels the
showman to let out the audience of one show by one
door while letting in the audience of the next show
by the other door. This procedure has been going on
for a number of years, even before the Police Com-
missioner ordered the theatres to close down at 12-45.
A visit to the theatres in the city brings to mind
one paramount impression, that they have very few
things in common with a modern well equipped show
house. Some of the theatres, which still enjoy the
indulgence of the Police Commissioner's license in-
spite of protests, are no better than pig sties with-
out ventilation.
The average seating capacity of a theatre is 1000
persons. The minimum admission rate is four annas.
The Indian film is more popular with the poor masses
than with the other classes. The shows overlap o:
another with the result that the theatre is nev
empty — not even for five minutes— which means th
the theatres are continuously occupied for over elevi
hours. Hygiene and health are not things known
the poor of the city.
With these conditions prevailing for years, is
any wonder that our city cinema houses provide tl
best hothouses for breeding and transferring eve
disease?
No cinema in the city, with the exception of
couple of English picture houses, has installed ai
air purifiers.
One wonders how this vital problem of publ
health has not yet struck the Hon. Dr. M. D. Gildi
our Minister ior Health. We find him rushing abo
in a sincere panic through the entire province, clo;
ing liquor shops, opening hospitals, giving grar
speeches on health and hygiene and promising
heaven of health to the citizens, when these theatre
which are right under his nose, continue the trag
work of spreading disease in the city.
As a medical man, he will realise the necessil
of clearing and purifying the air between two show
All over India, we find theatres having two shov
per day, with a big interval between the two show
But in Bombay, perhaps the most crowded city in tl
country, the theatres have three continuous shov'
without any intervals in between.
The urgent need of the hour is to fix the show,
thus as to leave a minimum interval of thirty minuttj
between two shows. During this interval, the a:
purifiers must work full strength (provided it is mac
It is obvious that Mr. Baburao Pai's partnership in Prabhat won the popular vote. When Mr. Jagannath
Patel ("Bauer" representative in India) gave a luncheon at the Taj in Mr. Pai's honour, every prominent
film personality, barring of course the stars, wielding big business was present — perhaps for the first time in
the history of the film industry. Sardar Chandulal Shah presided at the function.
10
*ruary 1939
mpulsory to install them), a batch of sweepers
list sweep the floors, clean the seats and wash off
in' and spittle.
It must be made compulsory for the cinema
;ner to maintain a menial staff of at least 12 per-
ns to give the auditorium a quick cleaning rub
thin half-an-hour. These men are more important
the public than the well fed managers and the
.lf-sleepy door keepers we see at our theatres.
Air purifiers, at least four for a theatre with
ited and certified capacity of purification, should
made as compulsory as the fire-extinguishers.
Complete compulsory disinfection about 3 times
jtweek should be insisted upon, preferably under the
tfidance and supervision of the municipal authori-
t s.
I These are some of the things which our Minister
ur Health should start doing first. We do not want
lerely a minister for health. We want Health.
Kherwise we get the other one who ministers at
lath.
fcrcw AIR PURIFIERS
That brings to mind a new invention which gave
d a bit of a pleasant surprise the other day. We refer
U "Lumitra" Ozone generators. It is an attractive
fdget which gives a violet glow of light when work-
k|g and while doing so spreads ozone in the room to
rrify. In science, Ozone is known as a more active
flite of oxygen which destroys bacilli. Ozone which
■Inature's medium for purifying, deodorizing and re-
Utivating the air is formed by the passing of rays
« the sun through the atmosphere.
These "Lumitra" Ozone generators seemed to do
Itjs job of purifying the air rather well and a bit
mickly. We tried a generator at the office and
:tpught it a marvellous improvement over the exist-
•ig purifiers.
If these "Lumitra" people only had a bigger
tfeatre model, then the problem of purifying the air
I our theatres would soon be solved!
Beg your pardon, they have. These fellows must
, we us a free demonstration at one of our theatres.
(SECRETARY FOR THE CENSOR BOARD, PLEASE!
The Bombay Board of Film Censors needs a lit-
t re-organizing if the department is ever to be real-
I I useful to our film industry in addition to merely
• anting a paper certificate for films.
I The British Board of Film Censors is a very use-
if. institution. It is organized suitably to meet all
jt; demands of the film industry and the film critics.
Illmaintains complete statistics of the industry, peru-
w scenarios, passes posters and publicity and all
Us in addition to censoring features, educational and
d;umentary films. The British Board is a well orga-
ned institution.
I We can't say that of the Bombay Board of Film
fchsors. The Bombay Board has hardly got a secre-
cy of its own.
FILM INDIA
1
With a alnr, ,Nst,tute
^PloytTy/Uture a»*
COrner> I am r°Und the
Parent will „ SUre- every
should be^rZf young men
Engineers to Z„ 03 Radio
careers. Wln successful
My advice i* u
!*V own exopwl based °n
last 20 yea?s )en°e, f°r the
a»d allied*! tke Ra^
Cause I find & Und be-
s°'bed jn * bo ab-
, hate r-r,™ '
Ration. i0™mercialiSed
sca e loses athpr°fit making
»ell as the dealPUrP°Se °s
er"ment charnL No G°v-
countrys edVatf With the ;
f°r Profit. eaucatlon does it
^%GOtra^DlO IN- |
I? Radio, TaL- Students f
p\0ne and ' allien I' Tet*-
. banned buff. fieIds.
fessoriate, stud?l?ent Pr<>-
theoretical side °nr the
them practical' t d 1 Ohe
?K extensZ Zf^
*nd workshops biiiTatories
experience of 20 , 1 °n an
"ot for profil hutVrarS- 1 am
aappSrUercPiateeVefl Parent
Point andm^fl ?hls view
"'"are oHhTlT f°r ^
Voung men present~daij
Sernf01DlSrospectus to-
n;^/^!rr 80, 459
5: .. iif '
11
FILMINDIA
Some months back when Mr. J. O. Bartley, who
was acting as the Secretary left, Mr. Pai, one of the
inspectors took over his duties. Mr. Pai's first job is
to peruse and pass films. After he finishes this job,
he begins acting as a Secretary.
A very queer procedure for a permanent depart-
ment. Isn't it?
Mr. Bartley was a part time man as others, pre-
vious to him, have also been. His principal job was
in the Elphinstone College, so he attended the Cen-
sor office for 2 hours every day. And for these two
hours, he got Rs. 350 a month, a salary at which the
Government can get a well qualified man for full
time work.
The Censor department is self-maintained. The
Government has not to spend on it. And yet no ef-
fort is being made to organize this department on
modern lines to meet the demands of the industry.
Men in the industry want statistics for guidance
and information about contemporary institutions in
the other parts of the world. Who else should sup-
ply this information but the Censor Board? The
British Board of Censors does. Why shouldn't our
Board do it?
A whole time Secretary, of course a qualified In-
dian, can certainly do all this and make Mr. Pai
free to examine films, which is his main job.
MOTION PICTURE SOCIETY AND ITS NEW
PRESIDENT
A communique issued by the Government of India
states that the Motion Picture Society of India has
been granted recognition by the Government by in-
cluding it in the list of other recognised commercial
bodies.
This should have been done long before. But
even at this stage it is welcome as the Official recog-
nition of the Society as the only representative body
in the Indian film industry goes to prove that the
agitation of the Society in the past has had its full
effect cn the authorities.
The official communique bristles with results
achieved by the Society by agitation on different
12
February 1:
fronts. Reduction of duty on raw films, increase i
assessment value and duty on exposed films, abfl
tion of drawback in duty on exposed films, grant
concession in railway fares, revision of censoring n
thods, supply of statistics to the Society and mail
taining statistics of the import of cinema equipmei
are some of the results achieved by the Motion P
ture Society.
But all this is the result of an intensive agitati
which was going on prior to two years. For duri
the last two years, different jealous elements in t
Society have been warring with one another with t
result that no further useful work or propaganda h
been done.
The Motion Picture Society is the only body wi
a background of experience and achievements to r
present thoroughly the motion picture industry
India. All that the Society now needs after the r
cognition by Government is an annual grant from t|
Government to defray a part of its expenses for £
spread of educational and documentary films.
The annual grant can be justified on the groui
that the Motion Picture Society apart from being
body representative of all the different interests
the industry, is primarily an institution for further
ing the progress of educational and documentary filr
in the country. Fashioned after the British Film Ii
stitute in its objects and ideals, the Motion Pictu
Society certainly deserves an annual monetary gra:
from the Government. Of course, for the corre
organization of its affairs, the Society may have
accept a little official supervision, but such supel
vision, if enforced, is bound to do it more good tha
bad.
Who could ultimately achieve those objects A
the Society as originally planned, but Sir Rahimtullsj
Chinoy its present President? Sir Rahimtullah hai
pens to be a commercial magnate in the city. S
reorganize the Society on new lines, or even to
juvenate it, will not be a difficult task for him. The:
is no glory in being a President of an institution whi
is heavily involved in debts, as the Society is at pn
sent. Will Sir Rahimtullah take this work in har
immediately?
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Telephone: No. 25506 Telephone: No. 850
"C0M310NSENSE CROSSWORD 99 No. 140
If you had to choose between 12 monthly payments of Rs. 1,350 and a lump sum of Rs. 15,000 which wouh
you prefer ? This is not merely a pleasant abstract problem, but one which you may actually have to decide ven
soon if you enter for this Competition. Apart from that covetable alternative First Prize there is a large sum reservec
for Runners-up and unlimited attractive Extra Awards for all solvers who commit jour errors or less. As usual, thos<
who solve the Clues with the greatest care will reap the largest rewards — so do not fail to make full use of th<
Practice Square below :
CLUES ACROSS
1. Solving the Clues of these puzzles
is not a difficult one
4. Of a pale j ellowish colour
8. Not transparent
9. Sharp blow
10. A stimulating one often helps to
cheer up a person who is depressed
12. Vain and conceited people are apt
to take this too seriously
14. Withered
15. To cast amorous glances
16. Sooner or later most philanderers
find themselves in difficulties
through these
13. In most countries a vast amount of
money is recklessly wasted on . , .
20. As before, or in like manner
22. Spell of enforced economy is apt to
make many a former spendthrift
this
24. Average man's is seldom proof
against an attractive woman's
wiles
26. Sensitive youngster is much more
easily this than one who is self-
assured
27. Child's plaything
29. Australian running bird
30. External covering of fruit
32. A notion
33. SucS persons are notoriously mere
often good-natured than otherwise
34. It is apt to upset a wife when her
husband is this in presence of
strangers
CLOSING DATE FEBRUARY 10th.
N.B. — The Entry Fee in this Competition is Re. 1
per entry and Entry Squares will be published
in the issues of January 22nd and 29th.
26^
s
H
A
*E
1
4
ONLY ENTRY SQUARES
CUT OUT FROM
"THE ILLUSTRATED WEEKLY
OF INDIA"
of January 22nd or 29th
will be accepted
COI'iES AVAiLARLE I ROM ALL
CLUES DOWN
1. Most young mothers find thai
having a baby to look after is i
big this
2. Commonplace
3. Desire to attract attention make;
many a spoilt child this in grown-
up company
5. To ascend
6. Ornamental fabrics
7. Most Commonsense Crossword
solvers are keenly appreciative of
this
11. Bashfulness causes many a youth
to be this in his manner with
young women
13. Flesh of edible animals
15. Middle-aged women who try to
make themselves look young some*
times make themselves look this
instead
17. To hear that a friend is in trouble
usually makes a warm-hearted
person this
19. A poor one seldom evokes much
sympathy
21. Reversed spelling of word meaning
an idler or shirker
22. Such remonstrances seldom have
restraining effect on wilful
youngster
23. Jumbled spelling of stayed
25. Farewell
26. Frequently rouses feelings of extra*
vagant pity in most of us
28. Anything borrowed is, until repaid
31. To bend the head in assent
NEWSAGENTS
7L EDITOR'S IMIIb
1 •
! Headers "when you are worried " write to me. I will do my best
j in serving you. Serious matters ivill be treated seriously, wliile
i tiijijiant letters will receive Mice replies. — The Editor.
'rom: Bipin B. (Baroda).
I am starting on a foreign tour this year. Will
ananbala accompany me if I pay all her expenses?
Why do you particularly insist on Kanan. She
gets plenty of fun and excitement here without
having to go to any foreign country. Why. I will
accompany you, if you pay for all the expenses.
But if you insist on taking a film artiste, then
why don't you submit your proposal to Shanta
Apte? She has been thinking, loudly enough, of
going across and might accept your offer.
^rom: C. L. Victor Lazarus (Bangalore).
How many Indian film actresses have been to
lollywood?
None so far, but one can never say. So many of
them are nowadays threatening to visit Holly-
wood. I think Hollywood should be warned.
''rom: R. Ramana Murthy (Vizagapatam).
Why did Nitin Bose introduce only two girls in
,'Dharatimata"?
Because he hadn't more stuff on hand just then.
Is Pankaj Mullick superior to Saigal in singing?
Yes! Miles superior.
?rom: S. Karecm (Nellore).
On the screen we see our Anglo-Indian screen
|?ir!s in saries. Do they wear the same dress in real
life?
Yes, sometimes when they go out with the Indian
directors. At ether times, the sari is an obstacle
especially in motor cars.
From: R. Dookie (Durban).
If I become an actor in one of our film companies
what shall I do?
Everything else but act. You will begin by dress-
ing well, swank and looking wise. And with this
the average career of an actor begins and ends.
From: Nanoobhai B. Patcl (Bombay).
I saw the December issue of your paper very care-
fully but I could not find any advertisement from Pra-
bhat. What has happened to these Prabhat people?
If you miss the Prabhat advertisement
in "filmindia", you will find it in another
Anglo-Indian film magazine, with a message
from Shantaram thrown in for grace. And after
all done and said. Prabhat proprietors are pro-
ducers, and as such they must maintain the tra-
ditions of their competitors in the country.
Several people are in the habit of singing film
songs in their bath. Why do they do so? Why don't
they sing these songs in the open?
If they dare to sing them in the open, our pro-
ducers would chase them and rush them into
their films. Some of these amateurs sing better
than our film stars and naturally enough, they
must take precautions against our enterprising
producers, by straining their vocal muscles in the
confines of a bath. There is however another side
to this problem. Most of these bathroom singers
are nervous people, who unconsciously burst out
into a song thinking that they are alone in the
world. They hardly have any consideration for
those outside.
From: Barindra Krishna (Chupra).
Please let me know why Mr. Shantaram or the
authorities concerned at the Prabhat Film Co., do not
allow their employees to let the public know their
respective salaries?
There is probably not much to know. It is a well
known fact that Prabhat does not believe in big
salaries as producers in Bombay and in Calcutta
do.
From: K. Krishnamurty (Tenali).
My friends tell me that Mr. Shantaram directs all
Prabhat pictures but puts other names like Damle,
Fatehlal and Kale for a change?
I don't think so. though Mr. Shantaram is report-
ed to be helping his colleagues rather generously.
After all Mr. Shantaram is the senior director and
if he places his services at the disposal of his
other directors to express his sympathy in their
work, he is merely improving the pictures of his
own company. Several common friends however
state that Mr. Shantaram was largely responsible
for the unique success of "Tukaram".
What has become of "The Unexpected" which
was sent to the International Exhibition in Venice?
The picture was very well received by the judges
and even Czechoslovakia offered to buy it, but
Prabhat didn't fancy exploiting the foreign field
just yet.
15
FILM INDIA
Some think that the last portion of "Gopal
Krishna" is bad because Mr. Shantaram poked his
nose in it?
Even producers have to maintain mythological
traditions and they could not avoid the last
scene. As regards the other point, Mr. Shanta-
ram would always improve it by his suggestions
and not spoil it as some people choose to think.
From: Vipin H. Jhaveri (Surat).
It is said that the intellectual development of a
person depends on individual diet. What sort of a
diet do our film stars take to develop their intellec-
tual capacity?
Seeing some of our stars and their physical pro-
portions, it is obvious that they have never wor-
ried about intellectual attainments. The "diet"
which they must be swallowing only seems to add
to their weight. At present the only persons who
need exercise any intelligence in their work are
the publicity men of the studios. They have to
add glamour and beauty to the stars — sometimes
even sex — justify the criminal waste of money and
energy by the directors — and prolong as far as
possible the ultimate end of the producer. All
this needs intelligence and these publicity boys
are kept on real "diet" — starvation diet it is call-
ed.
Suppose you are asked to act with Shanta Apte.
Will you do so willingly or unwillingly?
Willingly of course! But I am not much good at
acting. But this is all a supposition as you
have put it, so why worry?
From: H. V. Gowd (Bellary).
Please name some of the prominent Mahomedan
actors, actresses, directors and producers.
Actors: Kumar, Nawab and Mazhar Khan
Actresses: Ratan Bai, Khursheed and Anwari
Directors: S. Fatehlal, Mehboob and Kardar
Producers: M. and Y. A. Fazalbhoy of General
Films Ltd.
From: A. V. Ramakrishna Rao (Tumkur).
I want you to recommend me a couple of books
on Cine Photography and where I could get them?
"Handbook for Motion Picture Photographers",
by H. C. McKay and "Film" by Sieveking & Mor-
row are two useful books for the students. You
can order them through the New Book Company,
Hornby Road, Fort, Bombay.
From: M. S. Ramachandran (Madras).
Why arc you not publishing photos from the new
productions of Prabhat?
Where are the productions and where are the
photos? You shall have to wait a bit longer.
Which is the better picture — Manzil or Mukti?
I liked "Manzil" better. Didn't you?
February 19
From: Krishna Rao Kisri (Cocanada).
Can you tell me something about Trilok Kapu
How has he done in the "Secretary"?
He is the younger brother of the famous act
Prithviraj Kapur. Trilok shows signs of becor
ing a really useful artiste. He is enthusiastic ai
modest and is willing to learn. Quite a good be
he will someday be a top liner if he remains
modest devotee of art. His work in the "Seer
tary" was good and enterprising.
From: Govind (Bangalore).
How is that no pictures have been produced c
incidents in our two epics — the Mahabharata and tl
Ramayana?
Where have you been all these days? Not oni
have our producers produced every incident froi!
these two epics but they have added some moi
and thus improved on the works of Vyas an
Valmiki. Seeing some of these additions, on
wonders why the spirits of these two poets di
not strike down the offending producers. Perhap
they thought, like me, that things would neve
improve. Poor poets!
From: T. M. Hamsa (Madras).
Who stands foremost among the cinema critics o
India?
This is an important question and you shoulc
answer it as a reader. In fact, all readers shouli
answer it. Why don't you all answer it — min<
you, truthfully and frankly? I invite all my rea
ders to drop me a postcard with their opinion i
about the best critic in our film industry.
- , ■ m
From: Shyam Sunder Bhatnagar (Santa Cruz).
How would you like if "Gandhiji" were to ac
as "Villain" in a national picture called "India Strug
gles" along with "Miss Mayo" as the heroine, "Nevilh
Chamberlain" as the hero, Bank of England to finance
and "Jawaharlal Nehru" to direct?
What about Mahomcdally Jinnah acting the
blind singer?
From: A. Purshottama Rao (Ponnur).
Compare Shanta Hublikar with Shanta Apte in
points of singing and acting?
Is a comparison necessary, now that the famous
Prabhat director Shantaram has chosen Shanta
Hublikar to star in his new picture? Both the
girls are in the permanent employment of Pra-
bhat and who could assess their talents better
than Shantaram? Surely Shantaram would not
take a lesser artiste for his picture when a suitablB
one is available. Shantaram's decision to take up
Shanta Hublikar should be a pointer for yoni
judgment. Besides, with Prabhat correct casting
is more important than mere star value. Pro-
bably Shanta Apte did not have a suitable role.
February 1939
FILMINDI A
From: Ghafoor Ahmed (Banda).
I want to know something about Wadia Movie-
tone?
There is not much to know in this company. They
produce pictures which in utter modesty they
label as "stunt" pictures. Even Nadia getting
down a staircase is expected to be taken as a
"stunt". See the "Flying Ranee" and you will
know both the past and the future of Wadia's.
From: B. K. Chaudhury (Cawnpore).
Which of the following pictures contributed to-
wards film technique and art this year: "Dharati-
nata", "My Son", "Adhikar", "Jailor", "Baghban",
'Industrial India", "Asha", "Poornima", "Brahma-
•hari" and "We Three".
"Adhikar" proved a high water mark in film craft.
"Brahmachari" proved that film comedies if cor-
rectly produced could be big successes. "Dharati
Mata" pointed out that even classic subjects could
be considered for film production. "Baghban"
proved by its huge success, that luck plays a great
part in film production. "Jailor" provided Sohrab
Mody with an excuse to tour the Punjab.
"Industrial India" provoked the thought
that film producers can think of moulding public
opinion to develop our industries. "Asha" pro-
vided an object lesson to those who have money
but lack experience in production. "Poornima"
proved that dogs and horses were not absolutely
necessary to make a picture a success. "My Son"
brought home the fact to us that even Prabhat
can sometimes produce weak pictures.
A Lahore magazine called "Adhikar" 'good', and
"Jailor" 'very good', while you call "Adhikar" very
good. How do you explain this?
What do you think of it yourself? If you think
"Adhikar" to be very good, you have only to fol-
low "filmindia" for your future guidance. Don't
believe these Lahore papers — they are sentimen-
tal and affectionate. When they praise they be-
lieve in extremes. Sohrab Mody must have been
'very good' to the man who called "Jailor" 'very
good'. There is another way of being 'very good'.
It begins with a two page advertisement.
From: C. S. Reddy (Kurnool).
Who is Leela Chitnis and what is her screen
career?
Leela Chitnis is a young Bene-Israel girl. Till
a year back she was a married woman with child-
ren. The children she has still got, but the hus-
band is divorced. She is one of our few good
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17
FILMINDIA
artistes and has worked in several pictures, pro-
minent being "Beyond the Horizon" and "Gen-
tleman Daku". She will soon be seen in "Sant
Tulsidas" produced by Ranjit Movietone.
From: S. M. Syed Ahmed (Galle — Ceylon).
Who are the proprietors — of Ruby Pictures?
It is a partnership concern between Miss Ruby
Myers (Sulochana) and Mr. D. Billimoria.
What about East India Film Coy?
What about them? They probably discovered
that picture production did not suit their tem-
perament.
From: P. M. Maya (Cochin).
Do Shanta Apte and Sabita Devi subscribe to
"filmindia"? .
I know, rather we all know, that they do not fail
to read it. Why should they subscribe when over
a thousand bookstalls all over India sell the
paper and they can always buy it on the quiet
without my knowing it. The trouble however is
that they don't keep quiet after reading.
From: V. Hanumantha Rao (Rajahmundry).
Who is the better artiste: Shanta Apte or Devika
Rani?
Devika Rani.
From: Manick Lall Ghose (Calcutta).
Whom do you think to be the better dancer bet-
ween Lila Desai and Sadhona Bose?
Sadhona Bose.
From: Chiman N. (Surat).
Why does the Ranjit studio produce a lot of pic-
tures?
To maintain a large staff and to feed a large
number of theatres. The Ranjit studio has a
greater national importance to our country and
industry owing to its big annual production pro-
gramme than those studios who produce only a
few pictures a year under the guise of quality.
From: L. S. Kumar (Nagpur).
Who is the best character actor on the Indian
screen?
Mr. Baburao Pendharkar.
From: R. P. Mehotra (Cawnpore).
Mira Devi of "Vachan" seems to be a promising
lady?
Promising? Yes! But only promising l
From: S. L. N. Murty (Karimnagar).
Two days back I had the of seeing Prabhat's
"The Unexpected", the so much exaggerated film. I
do not somehow or other, find it at all to be a nice
picture. What do you say for it?
February l!i|
Opinions differ and one has every right to enti.B
tain his own. I liked "The Unexpected" for sevB
ral reasons. Vide my review in October 1937 iss I
if you have the copy.
From: K. L. Narasimha Rao (Masulipatam).
Does Meenakshi of "Brahmachari" fame ex*
Kanan of "Vidyapati" in acting?
No.
From: J. R. Mantha (Parvatipur).
Are cinema actresses advocates of birth-contrc
I think they favour the other productions. Wi
the film industry in such a precarious financ:
position how can the poor actresses indulge in t
luxury of a motherhood. And yet several of the
are happy mummies.
From: W. C. Varma (Benares).
I want the photos of Leela Desai, Mollina, Gre
Garbo, Kanan and ail other girls of the screen. W
you send them to me?
What do you take me for, a frame maker
match maker? Write to the girls directly.
From: P. H. Basava Raju (Bangalore).
What is your object in publishing "Kicks
Kisses" in "filmindia"?
I get both in the industry. The surplus I pai
on to my readers. I hope you don't mind.
From: V. Narayan (Madras).
Can you define "film tecnic"?
I shall try to when you learn to spell it.
What was Phani Mazumdar before he direct*
"Street Singer"?
An assistant director under Mr. P. C. Barua.
From: V. Ramadurai (Erode).
May I know why Sabita Devi and Director Badan
left Sagar?
We shall soon know why? Have a little patienc
Will Mr. Saigal give me an interview if I go ov«
to Calcutta?
Oh yes! He will even receive you at the statioi
But I wonder what Mr. Saigal will talk to you!
From: K. Gopalkrishnan (Vellore).
How many graduates are there among the India
screen actresses?
If you mean the University product, there are tw
registered ones. Mrs. Enakshi Ramrao and Mis
Nalini Turkhud.
Who is the actress on the cover of your Decern
ber issue?
Sunita Devi of Ranjit Movietone.
18
notes and news—
RANJIT & ROYAL OPERA HOUSE
Ranjit Movietone who usually
produce the largest number of pic-
tures in a single year, have secur-
ed the release right for a period
of one year at the Royal Opera
House. This popular theatre will of
course remain under the manage-
ment of Ideal Pictures Ltd., but
the programmes will be arranged
by the Ranjit Movietone. This
brings two theatres in the city
under the Ranjit control. "Sant
l| Tulsidas" will be the first Ranjit
i picture to grace the Royal Opera
i House.
FILM PRODUCERS AND THE
COMMERCE MEMBER
On the 10th January a deputa-
I tion of the leading film producers
of the city led by Sir Rahimtullah
; Chinoy, the President of the Mo-
tion Picture Society of India wait-
■ ed on the Hon. Sir Mahomed Za-
farullah Khan, the Commerce
Member of the Government of
India, during his short visit to the
city.
Consequent upon the lead given
by "filmindia" with regard to the
huge profits made by the distri-
butors of the foreign films, the de-
putation pointed out to the Hon.
Commerce Member that over 55
lakhs of rupees a year were sent
out as nett profits to foreign pro-
ducers. The Hon. Commerce Mem-
ber was urged upon to increase the
assessment value of the exposed
films coming into the country and
raise the import duty thereon
suitably when the Ottawa Agree-
ment terminates in the near fu-
ture, while maintaining the pre-
sent duty on the raw films.
The deputationists further stres-
sed the necessity of establishing a
Central Body to guide and advise
the Indian film industry in the
same way as the British Film In-
stitute in England or the Federal
Department of Visual Instruction
in Germany.
FILM STARS BOYCOTT
GERMANY ?
"A declaration of Independence"
calling upon President Roosevelt
to sever economic relations with
Germany, has been drawn up by
a group of prominent film stars
and motion picture executives.
Some of the prominent signa-
tories are: Edward G. Robinson,
Fred Astaire, Bob Montgomery,
Miriam Hopkins, Joan Bennett,
Claudette Colbert, Paul Muni, G.
Marx, Ginger Rogers and Bette
Davis.
Copies of the declaration will be
presented to the theatre-goers for
endorsement and it is hoped to
obtain 30,000,000 signatories in sup-
port.
That will be something for Hitler
to think of.
UNITY IS STRENGTH !
Paris Cinema owners recently ex-
pressed their dislike for new taxa-
tion on them by the authorities by
closing down all the cinemas for
three days. The new taxation which
was proposed to be imposed on
them would have necessitated their
increasing the prices of the seats
by 50^. The cinema owners refus-
ed to penalise the public thus.
For three continuous days Paris
the city of lights and pleasure had
all the picture houses closed.
The Deputy Premier, M. Chau-
temps agreed to the new tax being
suspended pending an inquiry into
the grievances provided the cinema
owners agreed to re-open imme-
diately. But the cmema-owners
had no use for compromises.
AMERICANS FINANCE THE
BRITISH !
20th Century-Fox the American
firm will invest £1,000,000 in a pro-
duction programme at the Gains-
borough studios at Islington. This
means that the future Gains-
borough productions will be finan-
ced by the American firm. In this
connection, it is significant to re-
call that early last year Gaumont-
British closed down their £300,000
studios at Shepherd's Bush.
Now the problem of financing
Gaumont-Britlsh and Gains-
borough is automatically solved.
NOW NO VACANCY!
Mr. Baburao Pai for years associated
with the remarkable success of Pra-
bhat pictures has now accepted a
fifth partnership in the Prabhat Film
Company of Poona. Mr. Pai being
of course the most enterprising
among the partners of Prabhat, we
expect that studio to give us more
and better pictures in future.
Production will continue under
the control of Maurice Ostrer and
Edward Black, with Robert T. Kane
of 20th Century-Fox working in
liaison.
In India also, we are threatened
with an early invasion from the
foreigners.
BOYS MUST NOT SEE CRIME
PICTURES
On account of the serious in-
crease of juvenile crime in the dis-
trict, Sittingbourne and Milton
Council have decided to ban the
showing of horrific films to child-
ren under the age of 16.
Mr. A. J. Bedelle, the Chairman
of the Council said that the boys
brought before the magistrates for
shop breaking had not only copied
film gangsters but improved on
their methods.
The British Board of Film Cen-
sors at the suggestion of the Lon-
don County Council classified these
films as "H" to provide guidance
to the exhibitors.
What about the crime pictures
coming to India with a tragic re-
r~ 121
llniwi^eacliabie Science o| ^upeiiciitii I
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Dear Sirs,
2 8 NOV 1938
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■bruary 1939
FILMINDIA
Clarity? Can't the Censors do
Lything about it?
i GAR PICTURES IX "PATHE"
, Right in the wake of Ranjit Mo-
Ivtone securing the release mono-
'•/ly at the Royal Opera House,
{gar Movietone, rather Mr. Su-
ndra C. Desai, the eldest son of
I\ Chimanlal Desai, the proprie-
t: of Sagar, has secured the
• athe", which is perhaps the most
rpular and well equipped cinema
,c the Lamington Road and in the
•lart of the city, for the first re-
l.se of all Sagar pictures. With
pducers having more and more
cect control over our cinemas,
t? exhibition side of the film in-
dstry will in future be consider-
aly influenced by the production
i erests. In a way, this is good, as
pducers will realize from their
On experience the causes of the
p?carious existence of several of
o: exhibitors and will not insist
o the pernicious practice of ask-
minimum guarantees for pic-
tres which are no better than
bily made sausages.
rhe cinemas in the city are at
ppsent controlled as follows: Cen-
tl Talkies (Prabhati, Minerva
(pw Theatres) West End and
Ryal Opera House (Ranjit). Pathe
ikgar) Lamington (Wadia) and
tt Krishna, the Imperial, the
Sper and the Majestic for small
ppducers, — 4 first run houses for
Mr 12 small and independent Pro-
cters.
IK. A. NARAYANAN" HITS OUT !
jpeaking as the President of the
Iftrd Madras Provincial Film
Chference held on the 22nd De-
shber 1938 at Madras. Mr. A.
*ayanan said: "It is a pity that
Men less important industries
tu/e officially recognised councils
ap associations to voice their
revances and further their in-
tests, an important growing ria-
siial industry like the cinema in
Mich crores of rupees have been
nested which affects the outlook
ilife of crores of people and with
W great future potentialities
Jluld be without an officially re-
vised central organization."
facing the history of the South
tyian film industry Mr. Nara-
yanan said: "A limited market
heavier initial investment, without
corresponding increase in the field
of exhibition, a greater supply of
pictures than what the market
could hold and less of thought for
the production of pictures that
will sustain audience interest by a
varied, novel treatment of subjects
with timely topical appeal and a
complete lack of general improve-
ment in technique, have brought
the film industry in South India at
Khan Bah.adur Gulam Hoosein
Dossani, the senior partner of Dos-
sani Film Corporation is the first
Khoja gentleman of Calcutta to be
honoured with the title of the Khan
Bahadur.
the end of 1938 to a state of which
we could not be proud."
UNJUSTIFIABLE DISCRIMINA-
TION !
Condemning the discrimination
shown by the Government and the
public utility concerns, Mr. Nara-
yanan said "The help we are get-
ting from our government (in
these days of subsidized industries
in other countries'! for which we
are paying by way of income-tax
and the other usual taxes and cus-
toms duty on imported raw films
and recording and reproducing
equipments to the tune of lakhs of
rupees and for all this the cinema
industry does not get a return of
even one pie's worth of service, is
the continued imposition of the
entertainment tax first imposed as
a temporary war-time measure.
In principle no more unjust or in-
equitable tax could be found than
this tax based on income and not
on profits.
"The latest addition is the Im-
position of a tax on bills and
hoardings by the municipalities
that has definitely throttled not
only the film industry, but also
the stage, throwing the stage wor-
kers on the streets and adversely
many other allied industries like
printing etc.
"It is unfortunate that the
cinema industry alone should be
singled out for special discrimina-
tory charging.
"The same is the case with the
Railways with their discrimination
in rates for film parcels and their
withholding the concessions for
film producing units, while grant-
ing such concessions to others, and
the electric supply companies with
their unequal rates for the supply
of energy for the cinema companies
as compared with their rates for a
few of the major industries."
Every word of Mr. Narayanan is
unfortunately too true but does he
forget that the ascetic popular
ministers with their peculiar "Gan-
dhian Hue" are not so fond of the
Indian film industry?
The Hon. Mr. C. Rajagopala-
chariar, the Premier of Madras,
would do well to study the Presi-
dential address of Mr. A. Nara-
yanan during his spare time. And
so should the other ministers in
other provinces, because grie-
vances of our film industry else-
where are identically the same.
WE MOURN WITH DISNEY !
Walt Disney the famous screen
cartoonist is in mourning. On De-
cember 12. Disney's 80 year old
father and 71 year old mother
were found dead in their Holly-
wood home, poisoned by coal gas
from a furnace.
Disney adored his parents and
only two years back he presented
them their new house next to his
own. India sympathises with this
great artist in his grief,
23
L M I N D I A
February 193»
Mr. Chhotubhai Desai goes to Delhi
as the manager of the new booking
office of Paramount Film Company
of Bombay.
THE CHEEKY ANGLO-INDIANS !
The 1st Class Magistrate of Bllas-
pur has convicted five Anglo-In-
dians and sentenced them to pay
fines ranging from Rs. 50/- to
Rs. 75/-. They were charged with
committing a riot in the Nadam
Cinema Talkie House and pre-
venting an Indian gentleman, Mr.
D. P. Ray, Pleader, from occupying
a seat in the cinema house.
An instance of class hatred, per-
haps ?
FILM INDUSTRY AS THE
8TH KEY INDUSTRY
The members of the National
Planning Committee were enter-
tained to tea on the 19th Decem-
ber by the leading members of the
Indian Motion Picture Congress.
Several aspects of the film indus-
try and the role the films would play
in the scheme of industrialization
of the country, provided proper
support was forthcoming from the
different Provincial Governments,
were discussed at the gathering.
The attention of the National
Planning Committee was drawn to
the fact that the Indian film in-
24::
dustry ranked eighth in import-
ance as a key industry.
DAYLIGHT SCREEN
Dr. Takeo Shimizu of the Scien-
tific and Chemical Institute of
Tokyo has invented a new daylight
screen which enables pictures to
be shown in lighted rooms or in
broad daylight after six years of
intensive research. The screen is
made of celluloid.
The first public projection on
this new screen proved a splendid
success and the new invention will
soon be manufactured on com-
mercial basis.
What a boon to the Educational
authorities and to those who cla-
mour for open air cinemas!
HONOURED AT THE TAJ
On the 20th January, Mr. Jagan-
nath J. Patel, "Bauer" representa-
tive for India gave a grand lun-
cheon at the Taj in honour of Mr.
Baburao Pai, the new partner of
the Prabhat Film Co. Sardar
Chandulal Shah, Chairman of the
Reception Committee of the In-
dian Motion Picture Congress pre-
sided. All the producers, journalists
and film celebrities were present
for the occasion.
GUNGA DIN STOP PRESS
Ram Bagai, "filmindia's"
Hollywood Correspondent !
cables : — j
t
"Your correspondent was j
the only one invited for a J
sneak preview of R.K.O.'s J
film "Gungadin". It may j
be good entertainment for j
the rest of the world but i
for India, it resembles the j
usual Occidental idea of }
India — seen through the }
eyes of British Imperial- {
ism." !
MR. BILLIMORIA'S FATHER
Mr. M. B. Billimoria's revered
father Mr. Burjorji Nusserwanji
Mengushi, a retired contractor
and journalist died at Billimoria
on the 19th January at the age of
73. Our condolences to Mr. M. B.
Billimoria.
HER TRAGIC PART
Hardly a year has passed after
the unfortunate death of her
husband, cruel fate has again
dealt another blow to Mrs. Durga
Khote. Her father Mr. Pandu-
rang S. Laud passed away on the
9th January 1939 at the age of
69. Mr. Laud was an eminent
solicitor and left behind one son
and three daughters to mourn his
death. Our sympathies go with
Mrs. Laud and her family. Durga
Bai is the youngest daughter in
the family.
The Industrial & Agricultural
Engineering Co.
NO. 9. FORBES STREET. FORT. BOMBAY.
(Plune: 25740.
♦
ALSO AT : BANGALORE, HYDERABAD AND CAWNPOKE
"Gunga Din" Rnother Sea
American
Indians Portrayed i
Ingenuity Provides
Indians N o Better than Dogs?
By KHWAJA AHMAD ABBAS
(Specially written for "filmindia")
(This famous film critic of "The
Bombay Chronicle" writes this arti-
cle after obtaining first hand know-
ledge of the subject during his re-
cent visit to Hollywood. Having
had the chance of perusing care-
fully the actual shooting script of
"Gunga Din", no one would be
better qualified to write on the
subject than Mr. Abbas). — (The
Editor).
It began with "India Speaks."
Then came, in quick succession,
"Lives of a Bengal Lancer", "Clive
of India", "Wee Willie Winkie",
"Tiger of Eschnapur" and only too
recently, "The Drum", the Alexan-
der Korda film which was banned
in several Indian provinces and
raised a storm of protest all over
India due to the excellent lead
given by "filmindia." But in none
of these films has our country been
libelled so grotesquely as in "Gunga
Din", the R.K.O. Radio picture
which is shortly to be released. It
is an Imperialist propaganda of
the crudest, the most vulgar sort
and depicts Indians as nothing
better than sadistic barbarians. It
will make the stomach of every
Indian — and every fair-minded
foreigner — turn with disgust. Some
of the scenes in it are revolting,
nauseating.
I am in a position to say this
because I have read the script of
this infamous photoplay, visited
the studio where it is being made,
saw work in progress on the "sets"
for this film. The memory of my
brief stay in Hollywood where I
made many friends and received
26
courteous treatment at many stu-
dios including the R.K.O. Radio
studios will for ever be embittered
by the thought that in that beauti-
ful sunny city they are producing
such an atrocious libel on my
country and my people.
INDIANS— NO BETTER THAN
DOGS !
Who and what was "Gunga Din"
that he should be "immortalized"
by this picture? Those who are
familiar with the works of that
greatest of all Imperialist propa-
gandist poets. Rudyard Kipling,
will recall a poem by this name.
It is not a long poem and tells
the simple story of "Gunga Din",
a regimental water-carrier on the
North Western Frontier, who dies
in an attempt to save the lives of
British soldiers who are being at-
tacked by marauding Pathans. The
purpose is obvious: to impress the
world with the devotion of Indians
and to teach the "natives" that
the highest ambition in their lives
must be such an opportunity to
serve their White masters. When
Gunga Din dies. Kipling makes one
of the Tommies say, "Gunga Din.
he was a better man than I am."
That one sentence. I am sure, will
be exploited to prove that the mo-
tive of the story is not anti-
Indian.
But the sacrifice of Gunga Din,
as sublimated by Kipling, was not
the sacrifice of a friend, an equal,
but that ot a faithful servant. He
served his masters with dog-like
devotion and if a dog dies in such
circumstances the noble master
Mr. K. A. Abbas.
may be moved to utter these words
of patronizing gratitude, "Oh.
Jack, you may have been a dog
but you were a better being than
us"! Those who have read Kipling
and his works know the exact sta-
tus which the Indian characters
enjoy in his stories and poems and
"Gungadin" is certainly no ex-
ception.
When Kipling wrote that poem
he had not heard of Hollywood.
Therefore, while he turned out an
excellent piece of imperialist pro-
paganda, he forgot to include in
the poem sufficient elements ofj
romance, sex-appeal, etc., without
which one cannot produce a box-
office hit. But Hollywood scenarists
are the most resourceful literary
carpenters in the world. If it came
to it they could produce a screen
adaptation of Karl Marx's "Das
Kapital" complete with Irving Ber-
lin's "scintilating songs" and a
couple of Ginger Rogers-cum-Fred
usly flnti - Indian Picture!
istic Barbarians !
:ology for British Imperialism.
itaire "streamlined dances"
irown in. They have been known
have bought a novel of Upton
nclair exposing the capitalist so-
ety and turned it into a gangster
'hriller." To import into "Gunga
in" the stock situations of regi-
ental romance, Hollywood version
British-Tommy humour, "timi-
ng" fight scenes and pseudo-
riental hocus pocus was like
jnld's play to them. They have
)ne it, true to type, and the re-
|ilt is the R.K.O. Radio version of
>unga Din."
.DIANS CRINGING BEFORE
(THE WHITE MASTERS
I Somewhere in the archives of
plywood I suspect there is a sa-
ed formula which must be fol-
wed every time they decide to
oduce a film about India. Take
ky of these films — "Wee
rillie Winkie", "Lives of a
engal Lancer" or "The Drum", —
pd you find the unvarying pat-
rn. "Gunga Din" scrupulously
lllows the same tradition. A Bri-
ph regiment is stationed "some-
pere on the tumultuous Indian
brth West Frontier." The same
d jokes are exchanged between
pe Tommies (Cary Grant, Douglas
airbanks, Jnr., Victor Maclaeglen I ,
pe smart subaltern inevitably
Llls in love with his superior's
aughter, the regimental dance is
bid under the "languorous" Orien-
Ll moon and is followed, in due
purse, by fighting between th?
jathans and the British in which
od, justice and fairplay are all
h the British side while the Pa-
nans (called "Thugs" in this pic-
ire!) are all, of course, a gang
t unscrupulous cut-throats!
I The white "hero" is kidnapped
!/ fanatic "native" priests and is
bpt in a torture chamber with
pisonous cobras wriggling un-
comfortably near. But, of course,
he won't yield to the threats of the
"cursed infidels" and is ultimately
rescued, the mutinous pathans
routed and the might of the Bri-
tish Empire once again vindicated.
A "Hindu" (In America every Indian
is taken for a Hindu) in "Gunga
Din". This specimen is supposed to
belong to the Frontier Provinces.
All the British characters are
honest, jolly souls while all the
"natives" are scheming, treacher-
ous, unscrupulous devils. All but
one!! The solitary exception is
Gunga Din, the faithful water-
carrier— loyal unto death, despite
the insults and curses that are in-
variably showered on him by his
White Masters. He is always cring-
ing before them. The word "cring-
ing" occurs innumerable times in
the scenario, for that is Gunga
Din's consistent pattern of be-
haviour. That is how all loyal
"natives" must behave in the pre-
sence of their rulers!
HORRORS OF THE WEST
PLANTED ON THE EAST
While on a visit to the R.K.O.
Radio studios in Hollywood the
courteous Publicity Department
flooded me with all the details of
their plans for "Gunga Din."
Shooting was going on at that
time on an outdoor location, three
hundred miles away near Mount
Whitney in the Death Valley. I was
told that out there in the Califor-
nian desert no less than 250 car-
penters had built a huge 10,000
dollars set comprising of a regular
British fort, Indian town, temple
etc.
Thousands of extras were em-
ployed, six or seven elephants were
used to forge the "Indian atmos-
phere", exposed film was sent by
air daily to Hollywood and, after
processing, sent back to be screen-
ed on location at an open-air
theatre. I was naturally impressed.
Then I was taken to the sound-
stages to see some of the sets that
were being got ready for indoor
shooting. The first was a temple,
a fairly passable imitation of Ele-
phanta caves — supposed to be in
the frontier!! The next was the
torture chamber. The Government
of India communique on the fron-
tier "operations" never leave out
any juicy detail of the heroic deeds
of the British soldiers but I have
yet to come across any instance in
("Continued on page 31)
27
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February 1939
FILMINDIA
(Continued from page 27)
which they have been tortured by
the Pathans in a dungeon full of
snakes.
I don't think a torture chamber
like the one is shown in "Gunga
Din" exists anywhere in the fron-
tier. The only place I saw any-
thing like it was in the "Chamber
of Horrors" at Madame Tussaud's
I in London where all the instru-
ments of torture perfected by
civilized Europe are displayed !
RIDICULE OF THE GODDESS
KALI
Fed on books like Katherine
Mayo's "Mother India" and films
like "India Speaks" the average
American has rather a cockeyed
notion of India and Indians. The
scenarists who wrote "Gunga Din"
Iseem to have heard of Pathans,
; |of Kali, of idols and priests and
temples, of elephants, of loin-cloth
: land of upright British soldiers.
And in "Gunga Din" they have
J |put them all together in a most
^(amazing jumble. Kali-worship goes
I on in the land of Muslim Pathans,
ipeople in the frontier are shown
• ^wearing loin cloth (instead of the
i"Shalwar", which every one, Hindu
j or Muslim, wears over there), ele-
I phants tread the camel tracks of
the Khyber Pass. It is all like pro-
ducing a film of Hollywood life
and showing glamour girls riding
I on the back of Alaskan bears and
I cigar-chewing producers going
about with feathers stuck in their
hair like the Red Indians !
I was so amazed by these hope-
less incongruities that I wanted to
know who was the technical ad-
viser. In and around Hollywood
there live quite a number of In-
dians (Hindus, as they are invari-
ably called in America; including
professors, students and other cul-
tured people who could surely tell
the producers of "Gunga Din" a
thing or two about India. But,
imagine my surprise, when I dis-
covered that the Technical Adviser
for this picture is a seventy-year
old retired British Officer, Sir Ro-
bert Erskine Holland whose chief
qualifications for being an expert
on Indian culture and customs is
that he was for a long time a
member of the high-born services
in India, one of our rulers, who
after a whole life spent in India,
cannot speak two words of Hindus-
thani correctly and don't know the
difference between a "chapati" and
a "chaprasi". I was curious to find
how they came to select this great
"authority" on India and was told
that he had been sent by the Bri-
tish Embassy in Washington.
Later on I was informed that
whenever a Hollywood producer
undertakes a film about India, the
British Embassy is asked to supply
an "expert." The tentacles of Im-
perialist propaganda are far-
reaching !
India Exposed to the Ridicule of
the White World
Such is the film that will shortly
be released from Hollywood. And
yet one more outrageous libel on
India will be flashed on the screen
in every country of the world. It
is not enough even if we manage
to get the film banned in India.
In my recent wanderings all over
the world, I was haunted by the
"Drum" and "The Tiger of Esch-
napur" wherever I went. From New
York to Budapest these films chas-
ed me from town to town. What
must they think of me, I often
wondered when I met foreigners,
after seeing such films about my
country? No longer was I surprised
that we are always looked down
upon in alien lands. To the for-
eigners I appeared perhaps either
as an unscrupulous black-hearted
devil Ike those shown in "The
Drum" or a cringing barbarian like
Gunga Din.
"Don't such films make your
stomach turn?", a fair-minded
English Film critic asked me in
London, referring to "The Drum."
And when I assured him they did,
he added, "Then what are you
going to do about it?"
Now that "The Drum" is shortly
to be followed by "Gunga Din", I
repeat the question "What are we
going to do about it?"
AN EXTRACT FROM THE ORIGINAL STUDIO NEWS FROM HOLLYWOOD.
GUNGA DIN
Nick Ermolieff
Foreign Department by
RKO Radio Pictures, Inc.
Hollywood, Calif. Ben Hecht and Charles MacArthur
Joel Sayre and Fred Guiol
THEME: WHEN A REVIVAL OF THUGGEE, ANCIENT MURDER - RELIGION. THREATENS
BRITAIN'S TROUBLED NORTHWEST INDIAN FRONTIER , THE THREE TOUGHEST
SERGEANTS IN THE BRITISH INDIAN ARMY ARE SENT TO THE SCENE, ONE,
TREASURE-BOUND, DRAGS THE OTHER TWO INTO TROUBLE AND THE THREE
SERGEANTS AND THEIR NATIVE WATER CARRIER, GUNGA DIN, ARE CAPTURED BY
THUGS. A RESCUE BATTALION HEADS DIRECTLY INTO A THUG. AMBUSH BUT IS
WARNED JUST IN TIME BY GUNGA DIN AT THE COST OF HIS LIFE. HIS HEROISM
AVERTS THE AMBUSH, THE SERGEANTS ARE RESCUED AND THE UPRISING IS
STAMPED OUT.
It speaks for itself. "Indians" means "Thugs" who believe in murder as Religion.
31
READY FOR BOOKING oad immediate Ret
eaS(
To be released Shortly
AT
1C 1
xmpenai v^inema
f77/e leading Theatre of Bofnbay)
The most eaqerly awaited Screen
attraction of the Year.
The Picture that has all the elements of
screen entertainment that the fan could
wish for.
Ulidnight mail
Directed by: K. AMARNATH
*
Starring:
Miss Yasmin, Nazir, Miss Gulab, S. Nazir,
Mishra, Master Gulam Kadar, Snirazi A.M.,
Indurani, Varne, Chandrakant B.A., Sadik.
To run simultaneously at
POONA — KARACHI — NAGPUR
From 27th January 1939
at JUBILEE TALKIES (DELHI)
(1)
KUL DIPAK
(2)
JUNGLE KA JAVAN
(3)
CHABUK WALZ
(4)
VEER BALA
(5)
BHEDI TRISHUL
(6)
CYCLE WALI
For Bookings apply to:
RATNA LUTARI
Director. A. M. Khan
Featuring:
Miss Romilla, Chandrakant B. A., Kantakumari,
S. Alam, Miss Amina, Miss Anvari, Balabhai,
Fazal, Medi Raza, Ansari, Kaul, Haroon,
Maherbanu, Shahzadi.
BHEDI KUMAR
Director: Chunilal Parekh
Featuring'.
Miss Indurani, Yashvant Dave, Urmila Devi,
Baby Indira, Shirazi A. M., Rafik, Ansari,
Mishra, Sadik, Vasant Pahelwan and others.
RAN SANGRAM
Director. A. M. Khan
Starring'.
Miss Kantakumari, Chandrakant B.A., S. Alam,
Miss Amina, Anvaribai, Balabhai, Fazal, Ansari,
Medi Raza, Kaul, Shahzadi and Haroon.
RAHNIKLAL MOHANLAL & COMPANY
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The Golden Sound "
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The l^Hicjue "Royal" fleivel
That has broken the Record
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Whose unique success has se>
Indian Film Producer
Wondering & Thinkinc
Seriously !
IT'S A MABVBL OF DELIGHT !
Hindi Version by
Pandit Indra
Story by.
P. K. Atre
Rrahmachari
&arH»9i VINA YAK & MEENAKSHEE
wj- j« \r • f Runninq
Hindi Version < n j„
■ [ Kan 11
19th Week at Gwalior
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hM ... • [23rd Week at (Maiestc) Bombay
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{ 23rd Week at (Aryan) Poona
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I REGRET TO SAY
33
BY D. F. KARAKA
[Mr. D. F. Karaka is the wellknown writer whose book "I Go West" attracted so much attention in India
and abroad. Mr. Karaka has taken journalism as a career and has been doing plenty of writing. His
article on "Adhikar" is as annoying as some of his other articles on other subjects and that is why we are
publishing it. But Mr. Karaka will need plenty of luck to get away with this one. We are sure, Bengal
will not swallow what Mr. Karaka has written, so easily. The Editor.]
Last week I saw "Adhikar". It
i the second Indian picture I have
ter seen. I remember many years
10 going to a picture house somc-
Mere on the Girgaum Road to
a one of the early Indian pictures
Mich dealt with social life of the
tahisticated type such as on.?
\iuld expect to form the plot of
{.Herbert Marshall Hollywood pic-
Kre. It was called "The Vamp."
I have seen, during the last
tii years nearly every picture that
Is come out of any of the big
ruses of Hollywood and England
<;d which can reasonably be said
tbe worth seeing. I have a taste
\iiich varies from the Garbo to
ii brothers Marx. I have known
aiumber of people connected with
tji film industry from cameramen
t directors. And more than any-
ting else I have read Lejune ever
ace I first laid hands on her arti-
cs which appear regularly in the
"jnday Observer". So that when
jj;ee a picture, I feel that I get
rare out of it than the average
f ture-goer. All this may sound
Iry bumptious, and certainly not
\:y modest. But I have dealt
lig enough with film people to
fcow that one must speak for one-
sf. No one else will ever speak
f- you.
'Adhikar" is a picture which at-
tjnpts to portray sophisticated
I It is an interesting coincid-
tce that after all these years the
jiian film industry has only gone
i>m "The Vamp" to "Adhikar". 1
c not think that anything could
<;r move slower in the history ot
pgress. "Adhikar" was picked
at for me as being representative
a the type of production which Is
timed out of one of the leading
Idian film studios of the moment
ad as the New Theatres Studios
aswer to the description of being
i the front line of Indian pro-
duction "Adhikar" was obviously
the picture to see.
CUT OFF 9000 FEET TO MAKE
IT A PICTURE
My predominant impression at
seeing this picture was that with
certain definite changes this could
turn out to be a reasonably inter-
esting film to which one could go
to while away a few hours in the
evening. The reservations are
these. I would first of all cut
some nine thousand feet of that
picture and put that roll of cellu-
Mr. D. F. Karaka
loid where it belongs — in the bas-
ket for collecting waste-paper. I
would give the man or men wlio
were responsible for its direction
a handbook on the elements of
direction, followed by a course ot
training in the smallest of the
English or American studios and
make him push a camera behind
a von Sternberg or a Capra before
I put him on to direct a picture of
that type and of that exhorb/tant
proportions. I would also change
a number of people in the cast. The
first person who would go would be
the comedian, whose acting was
beyond doubt the most feeble at-
tempt at comedy that I have seen
in many years. I would employ
what is known elsewhere as "the
continuity girl" and would get
someone with some conception of
time and date and season to write
the script. When these changes
are made I would put "Adhikar"
on the Indian screen, but not be-
fore.
It is not my purpose to belittle
the early efforts of a growing film
industry. I know it is very easy
to criticise and to destroy. I do
not want to do either. I want ra-
ther to open the eyes of those in
whose hands the destiny of the
film industry lies to the wastage
of time and money when they
could do so much better towards
building up an industry which has
in my opinion a great future. Only
when I see how these efforts are
directed in the wrong direction
and in the treatment of subjects
wholly unsuited to them, that 1
feel something must be done to
stop this cruel wastage of the
energy of a whole nation which in
some form or the other is used up
by the film industry. It is not
only the directors and the mana-
gers who form the film industry,
but all the lesser men as well, all
the artistes and the stand-in's and
above all that vast public which
puts hands in its pockets and
touches gold.
ONE LONG WASTE OF TIME
AND MONEY!
"Adhikar" struck me as one
long waste of time and money. I
say this with some reason. The
subject of the picture, translated
into one word in English
means "Right". It has its
setting in one of those
imitations of the ultra-modern
37
FILMINDIA
richman's home with elaborate
sets and vast underground apart-
ments and chromium plating and
all that goes with it. It has a
moral which it tries to force some-
what artificially out of the story.
It says or tries to say that there is
no contentment in riches and as
a side moral that the poor are
really happy in spite of all the
misery that you see portrayed.
There are some glaring defects in
this conglomeration of disjointed
ideas, morals, and settings. In the
first place you are intensely con-
scious of the fact that neither the
director nor the actors nor any
one else responsible for the picture
believe in one word they say. It
is not convincing. And when mo-
rals which are preached do not
convince those to whom they are
addressed, it is only natural that
the picture should fail in what is
its main purpose.
India is not and never will be
sophisticated in that sense of the
word in which we know it in Eu-
rope and America. There is not
the urge nor the education to be
sophisticated. When you grant
that, you must also grant that a
picture that is made in India
against all the environment, up-
bringing, culture and the life of
the Indian people can never be,
whatever its quality, a picture of
any distinction in this country. The
theme of the picture is enough to
condemn it in India.
Social life of the type portrayed
in "Adhikar" is almost entirely
absent in India. Not point zero
zero one per cent of three hun-
dred million odd people ever live
or think like that. No one can feel
comfortable in a setting which is
so obviously artificial. The Indian
people expect other things from its
budding industries. What would
happen for instance if the mill in-
dustry of this country suddenly
changed its policy and started pro-
ducing kilts instead of dhoties.
They just would not sell in this
country and that goes for the film
industry as well. In a country
where education plays so small a
part one has to bear in mind the
limitations of the average picture
goer and in consequence give him
something which is within his po-
wers of understanding.
TIME STANDS STILL!
Let us even take the sets. That
ridiculous basement set elaborate-
ly decorated. I noticed for inst-
ance that with all the money spent
on it, the director had not bother-
ed to change the hands of the
clock at any stage of the picture.
February 195
It was obviously a painted clocl
and you don't have painted clock
in sets like these, Mr. Director. A
far as I can remember, they stoo
still at a quarter to eight a
through that picture. In fact, s
no time did one know in "Adhikar
whether it was night or day c
mid-afternoon. Nor was ther|
anything else in the picture ti
give any one a clue. All the wc
men dressed the same whether :
was morning, noon or night. An
as for the girl who was an invali
and was put on a surgical bed,
thought it was the limit when sh
was made to wear the sort of dres
which one would wear when goin.
out. No sir, you just can't do tha
not even if she is playing the pai,
of a girl of unsound mind.
Also I have never seen any thin
look so horrible as the sight <
those balloons which were put ir;
to a glass case for decoration 1
that same basement set. Where i
any house of any rich man wM
can afford to have the thin|,
which the owner of the basemer
had, would you find balloons in
glass case? And you call that fill?
direction? And there was muc
more in that picture in that san;
vein all of which I cannot remerr
ber now.
ebruary 1939
LOVE" OVER A CUP OF TEA
Let us take the dialogue. I con-
Jess that the vernaculars are not
ly strong point. I say this not to
oast, but as a realisation of my
mitations. But I know enough to
Dllow the conversation except for
tertain unusual words. I also know
nough to say that when a man
iys to a girl that he loves her, her
?ply in a picture is never: "But
?nd first at least for a cup of
;a." These are certain funda-
mental things in the making of a
lm which you must know before
[ou attempt a picture. Direction
oes not consist of wheeling your
:imera all round the room and
ixing it later on the subject. There
; too much of this wandering ca-
mera done in "Adhikar". It is a
)rm of camera effect which is
;opelessly out of date. Today the
pproach is always straight and
,irected to the subject. So that
hen a man or a woman is singing
song, it is his face and expres •
on that is shown, not the walls
nd tho ceiling and the rest of the
k «ri
I cannot judge "Adhikar" from
the musical point of view. The
songs were, judging from the faint
applause they received, reasonably
good and had some origiaality
about them. Nothing to rave
about.
I REGKET TO SAY!
This is the sort of Impression I
formed of a picture which I was
given to understand was typical of
modern Indian production. I
would not mind it if it was just
one isolated picture, but it is a
serious matter when you are told
that this a representative picture.
Then you begin to take notice of
it and to find out what there is
in it which should be kept and
what there is in it to be avoided.
I have always been told that there
are people connected with the film
industry who believe that they
have really achieved something
and that the eyes of the
world are fixed on them. I am told
that Mr. Korda is interested in the
Indian films, that his opinion of
them is very high. And more,
much more.
FILMINDIA
Now I do not know what is or Is
not Mr. Alexander Korda's reaction
to the Indian films. In my opinion,
Mr. Korda has not yet touched the
heights which Hollywood has
achieved. He may have produced
a few isolated pictures, but there
is not that consistency of produc-
tion which characterises the houses
of Metro-Goldwyn-Mayer and Pa-
ramount. Even so, I say that I
doubt very much if Mr. Korda
would sit through the twelve thou-
sand odd feet of "Adhikar" and at
the end of it truthfully say that he
thought the film industry had a
great future. You who are in the
film industry of this country will
have to change your ways of film
production before you get any rea-
sonable recognition in the market
of this world. Once you realise
that and are willing to cast aside
that little unjustified pride you feel
in your very amateurish produc-
tions, you will have taken the first
step towards building up an in-
dustry which to me has a great
future.
Till then I regret to say you
will not get any further.
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39
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Round the town
"MY SON"
Producers: Prabhat Movietone —
Story: Y. G. Joshi — Direction: K.
Narayan Kale — Hindi Translation
and Songs: Shrivastava "Anuj" —
Art Direction: S. Fatehlal — Music:
iKeshavrao Bhole — Photography :
■V. Avadoot — Recording: S. Damle —
ICast: Shanta Hublikar, Ulhas,
iMama Bhat, Vasant Thengdi,
( Vatsala Joshi, Balak Ram, Chhotu
and Sunderabai — Released at Cen-
tral Talkies, Bombay — Date of Re-
( lease: 26th November, 1938.
When a story is wedded to mere
lidealism and divorced from excit-
|ing facets of practical life, it be-
comes a poor screen play. That is
what has happened to this picture.
Contrary to the usual expectations
('of success associated with Prabhat,
this picture has become an ex-
I periment and time alone will prove
liwhether it is to be an expensive
one or not.
Story: Suresh is a clean, modern
young man with journalistic am-
bitions. His father, a retired gov-
ernment officer, is however inten-
nsely orthodox and in his anxiety
||to secure a permanent and steady
I billet for his son wants his son to
! take up some government post.
In opposition to the wishes of
jhis father, Suresh is running a
small newspaper press inspite of
iigreat financial difficulties. Suresh
!jis pursuing an ideal when his pa-
jrents want him to be practical.
iWith a tyranny born of true pa-
jrental love, Suresh has many a
clash with his headstrong parent.
Sarojini is a rich heiress without
any parents. The puritan simplicity
of Suresh's life attracts her atten-
tion and she falls desperately in
love with Suresh. Suresh while lov-
ing the girl in return, is however
reluctant to express his mind due
to the big difference in their finan-
cial status. Things soon become
too hot for Suresh who has to face
a strike by his press employees.
The press passes out in the hands
of an adventurer called Balvant
and Suresh leaves his own home
in utter desperation. The pangs of
unresponded love drive Sarojini to
contest a local municipal election
against Suresh. Sarojini wins the
election, but Suresh wins the es-
teem of the people. Very soon,
there is a happy reconciliation,
brought about rather suddenly and
awkwardly, and Suresh and Saro-
jini meet in wedlock with the bles-
sings of the parents.
Acting: Balak Ram as the young
brother of the hero stands out with
a very natural and sympathetic
performance in comparison with
the work of others. Vasant Theng-
di as Balvant has a certain man-
nerism which suits the role he
plays. His performance was how-
ever made unnecessarily stagy.
Had the interpretation of the role
been made more subtle and less
bubbling, the portrayal would have
secured more design and a greater
psychological purpose. Ulhas as
Suresh the hero proves too stoic
for the present times. He seems to
have aped the director's own per-
formance in "Mahatma". He was
hardly given any movement. A
modern youth in the pursuit of
an ideal should not be so passive.
Coming to Prabhat's new 'find'
Shanta Hublikar, one should ad-
mit that the girl sings well and
has a good voice to back her up.
She was 'shot' very carefully all
along in mid shots — a close-up
being avoided with almost a reli-
gious monotony. And I wonder
why. No attempt is made to re-
gister her finer emotions in close-
ups even in sequences dominated
by the inner and higher emotions
of life. She is made to bounce and
jump about, but that is not act-
ing.
Mama Bhat as the father of Su-
resh was supposed to be a com-
plex portrayal with love and hat-
red overlapping each other and
idiosyncrasies punctuating saner
emotions. What he has actually
become is a paradoxical product
which excites ridicule when pathos
is intended. Mama Bhat's work
does not contribute towards mak-
ing the picture deliver the goods.
j ~ j
} (The reviews published t
» under this section are use- \
I iul both to the average J
} cine-goer and the exhibi- •
• for. Several technical {
I aspects which are of im- {
{ portance to the exhibitor J
J in his bookings have been »
treated here in short, j
{ maintaining, at the same j
| time, the casual interest \
I of readers in general.)
J J
Production: Similar themes
have often come to the screen, es-
pecially from Ranjit and Sagar
Studios and a novelty in treatment
was badly necessary to put over
one more picture with the same
central idea. The story material
in this picture is rather thin and
the development is generally un-
imaginative and at places sketchy,
Situations have been unnecessari-
ly stretched and songs have been
put into places where they are
least required or hardly expected.
The whole affair needs patience
to go through to the end. The
direction is nervous and strained
and seems to lack the capacity of
reaching the intellectual heights
of psychological understanding of
the design in the theme. As a
second attempt of this director,
his work is certainly not an
improvement. The photogra-
chance a hazard. The photogra-
phy was not happy throughout
though some indoor and outdoor
shots were superb. Recordng in
the first four reels was not satis-
factory. The Hindi dialogues are
an unholy mess of obsolete words.
Already weak situations are made
more weak by inappropriate and
insipid language which lacks both
vigour and thought. The Hindi
dialogues have delivered the final
finishing stroke to a picture that
fails to provoke or sustain any
interest. Merely sticking up toge-
ther several rhyming words does
not make up for the art and in-
telligence in composing songs for
the screen. The songs of this pic-
ture, though some of them are
well tuned musically, fail to at-
tract simply because they are
composed in words with no sense
and no melody. The music of the
41
FILMINDIA
February 1939
picture can be called good with an
inclination for the typical provin-
cial school.
Points of Appeal: It is a Pra-
bhat picture, but unfortunately it
misses the famous Prabhat
"touch." Picture production is al-
ways an uncertain business and
our sympathies go with the pro-
ducers. The music in the picture
is pleasant at places and the pic-
ture is moderately entertaining.
PROFESSOR WAMAN
Producers: Ranjit Movietone —
Story: Gunvantrai Acharya Direc-
tion: Manibhai Vyas — Photogra-
phy: Sazu Naik — Recording: Tha-
korbhai Patel — Music: Jnan Dutt
— Dialogues: R. S. Rammayae —
Songs: Santoshi — Cast: E. Billi-
moria, Mazhar, Sunita, Sitara,
Beg, Rajkumari, Wahidan .and
others — Released at: West End
Cinema, Bombay — Date of Re-
lease: 10th December 1938.
It is a crime and mystery drama
mainly intended to provide a
thrilling entertainment. The story
is well sustained throughout and
its unfolding on the screen be-
comes interesting and gripping
to the iaymind. As the director's
maiden effort on the screen, from
this studio, the technical direction
of the picture deserves a little
more than usual praise.
The Story: Professor Harnam
harnesses the moon rays and pre-
pares an oxide product, which if
taken by a human being makes
him a monster and criminal. His
brother Professor Waman Is alar-
med at the discovery and thinks
of preparing an antidote, but in
the meantime the contents of the
bottle are swallowed by the im-
pressionable young daughter of
Harnam, Anjani, in a fit of a love
quarrel with Kishore, Chief De-
tective Inspector. Harnam In the
meanwhile dies and the respon-
sibility of looking after Anjani
falls on the shoulders of Profes-
sor Waman. Very soon a series of
murders most cleverly committed
breaks out and the police are
baffled. The wealthy sinners of
the city are the main victims and
no one knows how and by whom
the murders are committed. Sus-
picion falls upon Umadevi, a bold
adventuress. In turn everyone In-
cluding Professor Waman is sus-
pected, but the professor is busy
experimenting on the antidote.
One by one people are killed andi
Kishore, the Chief detective, is at)
his wits end. He arrests Professor
Waman and locks him up in jail
from where he escapes to complete
his antidote and prevent another
murder. The police give a chase
and very soon bullets whistle past.
The professor receives a bullet, but
not before he has manufactured 1
the antidote, which whilst dyingil
he instructs Kishore to administer
to Anjani his niece who has been]
committing the murders under the
monstrous spell of the drug. There 1
is a happy ending.
Acting: E. Billimoria as Kishore
gives quite a good performance.
Sunita as Anjani is tolerably good
though her dialogues need some
more polishing. Sitara as Umadevi j
is excellent and gives one beauti-
ful dance. Mazhar as Professor
Waman is the best of the whole
lot. His portrayal has some ge-
nuine feeling behind it. Begg is
hardly any good and he has not
much to do.
Production: The picture is well'
taken. If the scenario had been]
more imaginative the pictures '
would have been more effective. '
I 0%
V I
Jagdish. Bikram Kapur and Ramkumari in "Street Singer" a New Theatres picture running so well at the
Minerva Talkies.
42
February 1939
FILMINDIA
In crime and mystery dramas, the
element of fear must be used to
frighten the mind of the audience.
This is done by use of frightening
.sound or fearful action. The mys-
tery in the picture however is well
maintained, till the last minute.
The picture is very well directed
technically. The dialogues are
quite suitable. The music, however
jis not much of an attraction,
though Wahidan sings two songs
rather well. Photography is good
and so is the sound. The song
composition is common. E. Billi-
moria's attempt to sing a song is
not well received.
Points of Appeal: The picture
jwill appeal to all those who are
.fond of reading mystery stories.
iQuite a good picture for school
going children. The mystery and
.suspense in the picture contribute
.largely to its attraction as an en-
tertainment.
"DIVORCE"
Producers: Minerva Movietone —
Story and Scenario: Gajanan
Jagirdar and Pandit Anand Ku-
mar—Dialogues and Songs: Anand
Kumar— Music: Mir Saheb Pho-
tography: S. D. Patel— Audiogra-
phy: M. Edulji— Direction: Sohrab
jMody— Cast: Naseem, Sheela,
IShanta Dutt. Sunalini Devi, Ga-
lianan Jagirdar, Navin Yagnik,
Prem Adib and Others— Released
Lit: Krishna Talkies. Bombay-
Date of Release: 30th December
il938.
There is hardly any message in
(this picture as the writer himself
does not seem to have made up
Els mind till the end about what
he started to tell the world. Inci-
dentally he has forgotten at seve-
ral places what he started with.
The picture has therefore become
a hotchpotch of several ideas,
some experimental, some enter-
prising and the remaining uncon-
vincing.
The Story: If this is to be called
a story it has very modest preten-
sions. Roopa and Niranjan are
married but on a flimsy excuse,—
all over a dog — Roopa walks out
Dn him to take a divorce. "Andhi"
i newspaper man is married to
Shanta, but he drives his wife
out. Roopa remarries Amarnath a
screen actor, who spoons with
Menaka a screen actress. All this
muddle goes on against the wishes
of the old order. Roopa's married
life with Amarnath soon turns
into a tragedy, while Niranjan
himself on the verge of falling in
love with Shanta tries to restore
her to "Andhi" her husband. But
in doing so she commits suicide
and Niranjan carries the corpse
to the cremation ground. But be-
fore the corpse is burnt out, ano-
ther is found in the body of Roopa
who dashes herself to death in an
automobile. The hero, Niranjan,
Pandit Anan<l Kumar, this excellent
writer has given a refreshing sim-
plicity to the dialogues of "Divorce"
(Minerva). He gives a bold pro-
mise of becoming one of our leading
Hindi writers.
becomes philosophic mutters
something incoherent and the
story ends. The whole affair looks
queer and sounds funny.
Acting: Naseem as Roopa looks
far different now. She has added
weight allround, and her face
looks bloated. She had little ex-
pression before, but even that is
now covered by solid fat. Her work
in the picture is apologetic and
one cannot understand why! Na-
vin Yagnik as Niranjan the hero,
possesses a nose which is rather
too long and in consequence do-
minates his other features effec-
tively. One finds that big, long
nose blowing in and out through-
out the picture to supply the de-
mands of emotional acting. Vimla
Vasheesta speaks her dialogues
with a bad provincial tone. Shanta
Dutt is hardly suitable as a
"screen star", which role she plays
so unconvincingly. Gajanan Jagir-
dar has hardly anything to do. He
loafs through the picture with an
abandon which suggests that he
has nothing to do with the story.
The pity is, he wrote his own part.
Prem Adib as Amarnath is just
no good. In the midst of all these
disheartening performances Shee-
la has given a good and sympathe-
tic portrayal as Shanta. Her dia-
logues are good and her voice is
eminently suitable for sad songs.
Sheela holds the interest of the
audience but she has not been
sufficiently exploited.
Production: The direction of the
picture is weak. The photography
is indifferent and the sound re-
cording called for more care. The
dialogues are pretty good, and
certainly easier to understand
when one remembers the previous
pictures of Minerva. The song
composition is quite neat. The
music can be called rather good.
Songs Nos. 1, 2, 3 are very nicely
tuned though indifferently sung.
The boatman doling out philo-
sophy in and out of season did not
speak much for the imagination
of either the writer or the direc-
tor.
Points of Appeal:
The theme in the picture is set
out as a poser and might appeal
to some. Sheela's work is certainly
a recommendation.
"MR. X"
Producers: Prakash Pictures* —
Story and Direction: Dwarka
Khosla— Photography: G. N. Shi-
rodkar — Audiography: L. J. Bhatt
— Music: Shankerrao, Vyas and
Laloobhai — Processing: Vishram-
bhai — Editing: Kamlakar — Dia-
logues and Songs: S. L. Shrivastav
"Anuj" — Cast: Ratan Bai, Jayant,
Ranjit, H. Shivdasani, Indurani,
Anant Marathe, Lalloobhai and
Others — Released at: Super Tal-
kies, Bombay — Date of Release:
23rd December 1938.
This picture takes us back ten
years which means that out of 25
43
FILMINDIA
February 193!
imagine one more insipid and pas-
years of the existence of the In-
dian film industry, barely 15
years' progress is seen on the
screen. In comparison with "Poor-
nima", the previous release of
Prakash, this picture is a great
disappointment from all sides.
The Story: It is a crime-cum-
detection yarn based on nonsense.
But even nonsense must have
some school or some continuity.
This story contains nonsense that
neither tickles nor convinces. At
stages it becomes tiresome. Su-
rendra and Hemlata are friends.
They are young and promising.
Hemlata is educated while Su-
rendra is a poet. They silently love
each other, but before they could
give that love any concrete ex-
pression, Prem a young lawyer
steps in and marries Hemlata. Su-
rendra tries his hand at suicide,
but fails and is hurt in conse-
quences. A villain in Harish steps
in for no earthly reason. In fact
one fails to understand why this
character is at all put in. The
story would have been better off
without him. However Harish
creates a few weak moments of
excitement by his villaneous plans
and escapades. Prem and Hemlata
are happy till the arrival of a son
in the family, but then suspicion
takes its turn in the plan of
things and Prem turns out his
wife suspecting his wife's relations
with Surendra. The story gra-
dually travels to a climax which
finds its setting in a courtroom,
wherein Hemlata is hauled up on
a charge of murder of Harish.
Prem arrives and explains things
and everything is O.K. thereafter.
Even the little boy Jagdish shakes
hands with the judge.
Acting: Ratan Bai as Hemlata
is supposed to be the piece de re-
sistance of the affair. That she
does not prove to be so in reality
is the misfortune of the audience.
Ratan Bai looks ill and haggard.
Her make up is careless —
particularly on the eyelids. She
however sings two songs pretty
well, but the indifferent record-
ing does not permit us to enjoy
them. Jayant as Prem tried
to do something, but he was
hardly given a chance. I have seen
poets in life, but I can hardly
sive than Surendra played by
Ranjit. Even his poetry — we call
them songs in our pictures-
sounds dead. H. Shivdasani asi
Harish is unnecessary and so is his
work. Indurani as Radha the sister
of the villain looks more like a
cartoon. Laloobhai as Munshi
seemes to think that the screen is
just another stage for his sense-
less and nauseating frolics. The
little good work we find in this
picture, is done by little Anant
Marathe. He beats the senior bri-l
gade hollow.
Production: The entire techni-
cal work is full of defects anq
errors. The sound is c areless and
so is the photography. Khosla's
direction provides the best piece
of misdirection of every aspect of
film production. The dialogues are
absolutely commonplace while the
songs are very poor.
Prakash should try some
thing better and more am-
bitious in future. They have
enough experience to back
them up, if they undertook to
produce social pictures with thou-
ght provoking themes.
44
A shot from "Street Singer" now running to crowded houses at the Minerva Talkies.
Some interesting shots from "The
Kick" a Ranjit picture directed by
A. R. Kardar.
A &u^Ln,atim,e, Romance tfuii
Quid Rythni in y#ub Bait
and £ome in ^ou^ Htaht 11
Everest's' Eloquent Lyric of
Gipsy past & Modem Present
The Brightest Promise of 1939
To The Indian Film Industry.
(Produced Directed ; EZRA MIR
Jiuuc ir. RAFIQUE GHAZNAVI
Starring :
Ratanbai, Nazir, Khurshid, Mubarak, Ashak
Hussein, Jamshedjee, K. N. Singh, Nazir
Bedi, Mirza Musharaf & Others.
*i?oi Bookings Apply
EVEREST PICTURES CORPORATION LTD.,
Tribhoovan Road,
BOMBAY- 4
Studio Close" Ups
BOMBAY
:ANJIT MOVIETONE:
"Bazigar" directed by Mr. Mani-
|hai Vyas was released at the
Vest End Cinema during the
lonth and drew an appreciably
ood crowd. "Sant Tulsidas" is get-
ing finishing touches from direc-
tor Jayant Desai and from the
ushes seen it is expected that th3
lanjit studio will break box-office
ecords for 1939 with this stupen-
ous devotional picture.
, In between the numerous acti-
iities Sardar Chandulal Shah, is
larefully taking several scenes of
Achhoot", which picture again is
|xpected to be another record
,reaker. Chaturbhuj Doshi is busy
'ith a social comedy while direc-
ijr Kardar has atlast completed
The Kick."
1AGAR MOVIETONE:
"Service Ltd." a picture directed
y Mr. Luhar was released at the
imperial Talkies in Bombay.
Ladies Only", the next release of
he studio will open the Pathe
inema which is now under the
pntrol of the proprietors of Sagar
lovietone. Director Virendra Desai
t shooting in the indoors a social
pmedy, while director Mehboob
las atleast completed his social
licture called "The Only Way "
[irector Nandlal is busy with the
aper work of "Prithvi Vallabh"
nd another social picture.
jOMBAY TALKIES:
"Bhabi" has proved a tremend-
us success at the Roxy. The star
ppearance of Renuka Devi has
jeen taken as a welcome sign 01
letter class ladies taking up the
lm career. At the studios, they
lave already started shooting ano-
her picture, the name of which, is
|>r the present kept a secret, as
jsual, probably because they them-
rlves do not know what it has to
fe named and in this picture again
Jevika Rani will not be seen in
he stellar role. We wonder whe-
ner there is a new girl coming into
I once again.
PRAKASH PICTURES:
"Mr. X", a mystery thriller did
not draw as well as was expected
by the producers. At the studios
"Hero No. 1" another crime thril-
ler is expected to be ready in the
first week of February. "Leather
Face" and "Protia" are two other
thrillers under production.
WADIA MOVIETONE:
"Flying Ranee" has been releas-
ed at the Lamington Talkies. "Jun-
Mr. S. V. Kirparam, the Editor of
"Movies" is a complete institution
by himself. A friend to all Kirpa-
ram is a loveable personality. As
a journalist, however, he is on the
wrong track, while he could be one
of our best production managers for
any of our mismanaged studios.
gle King" is receiving finishing
touches from Mr. Ghadialli. "Vijay
Kumar", "Punjab Mail" and "Jai
Swadesh" are other pictures under
production.
GENERAL FILMS:
"Industrial India" has shifted
its venue to the Kohinoor Cinema
in another part of the city where
it is drawing very well. "Pati
Patni", a social picture begun by
director Atorthy and completed by
director Gunjal, is now lying ready
for release. The future plans of the
Fazalbhoy Brothers constitute two
pictures under the direction of
A. R. Kardar and if the proposed
merger with Sagar's comes off,
several more producing units will
go into production.
RUBY PICTURES:
"Prem-ki-Jyot" has been com-
pleted and is lying ready for re-
lease. In the meanwhile the pro-
prietors are thinking of taking up
another social picture in hand.
MINERVA MOVIETONE:
"Divorce" proved to be a bit of
a disappointment when it was re-
leased at the Krishna Talkies dur-
ing the month. The next picture
to come on the screen will be
"Pukar" which is now being given
the finishing touches by Mr. Sohrab
Mody.
EVEREST PICTURES:
Mr. Ezra Mir has completed the
oul-doors, which are typically
gypsy, of "Sitara", the maiden pic-
ture of Everest Pictures. The music
in this picture is likely to prove
sensational, as it is not only un-
usual but is marvellously melodi-
ous. After a long time Mr. Rafique
Gaznavi has got a chance to show
to the world what exactly he knows
of music. "Sitara" will perhaps be
one of our best box-office attrac-
tions of the year.
KRISHIN MOVIETONE:
"Zamana" has shifted from the
Imperial Cinema to the Novelty
Talkies in another part of the city.
The picture proved sensational in
its appeal and the people who saw
it enjoyed a small holiday of big
tears. The picture is tremendously
educative in its message and it won
the admiration of national leaders
like Mrs. Leelavati Munshi and Mr.
Satyamurti. Mr. Ram Daryani will
now be taking up a new social sub-
ject with another thundering
theme called "Hindusthan Ha-
mara."
PARAMOUNT FILM CO. :
"Madhu Bansari" is due to be
released at the Lamington Talkies
after the "Flying Ranee." The pic-
ture is reported to have received a
big offer for outright sale. "Golden
Gang" under the direction of Ki-
kubhai Desai the boss, is now get-
ting the finishing touches. Mr.
Nanubhai Vakil is directing "Af-
latoon Aurat." As an experiment,
this studio has decided to produce
47
G E
that Menaces the Society
The city Goondas brought to book
by a Boy and a Girl in
Chandra Rao Kadam,
Bhagwan, Hanaa Wadker,
Sunetra, Vasanl and Varne
Director: BHAGWAN
CHANDRA ART'S
Social Thriller DeLuxe
CRIMINAL
THE PICTURE WITH BIG STORY VALUE
NO W 1! TINNING A T
UP EE TALKIES
BOMBAY.
Bookings and Provincial Rights : EVERGREEN PICTURES, Bombay No. 4
BABURAO PENDHARKAR
INDIA'S GREATEST CHARACTER ACTOR
PLAYS THE "HERO" FOR THE FIRST TIME
111
DEVATA
If Mr.ilinriithnpV has been a success
This one is a Qreater One.
MARATHI
The Stonj l»r. V. S. Khandekar
A "SUPREME" RELEASE
Direction /nr. Vinayak
'ebruary 1939
i picture in the Punjabi language
vith an all Punjabi cast.
MOHAN PICTURES:
"Midnight Mail" has been corn-
Dieted under the direction of Mr.
i. Amarnath, while director A. M.
£han has made considerable pro-
gress with "Lady Cavalier" and
'Ransangram." The Mohan Pic-
tures people have a very ambitious
programme for the year 1939, as
,hey propose to produce half a
lozen fast thrillers for the box-
jfflces.
POONA
SARASWATI CINETONE:
"It's True" is now in the editing
•oom and is likely to come on the
;creen sometime in the month of
February. The studio reports sug-
gest that "It's True" is likely to
jecome one of the most popular
lits of the season, as it contains
i new theme with an entirely novel
^reatment.
! Another picture under produc-
tion at the Saraswati studios Is
'Bhagwa Zenda" under the ex-
perienced direction of Nanasaheb
Sarpotdar. Several out-door scenes
iave been taken and from the
rushes seen, it promises to be a
really first class picture.
PRABHAT FILM CO:
It has been definitely decided
not to give the leading role in Mr.
Shantaram's new picture to Miss.
Shanta Apte. The responsibility
therefore, has fallen on the slen-
der shoulders of Mrs. Shantabai
Hublikar, who will be gracing the
screen as Mr. Shantaram's heroine
of the story. There is still some-
time for the picture to go into pro-
duction, but it is expected that by
the last week of February the re-
hearsals will be completed and the
shooting will start.
KOLHAPUR
HUNS PICTURES:
The remarkable success of
"Brahmachari" has changed the
entire fortunes of these producers.
"Brahmachari" has proved a big
gold mine to the Royal Film Cir-
cuit who bought the world rights
of the said picture. It is breaking
old records and making new ones
all over the country.
At the studios, "Devata", a re-
markably powerful story by Mr.
Khandekar is lying entirely ready
for release. This superb picture is
FILMINDIA
likely to prove an admirable suc-
cessor to "Brahmachari." The pic-
tures under production at present
are "Brandy-chi-Batli" and "Su-
khacha Shodh", two social pic-
tures with themes that are likely to
prove very popular. In the former
one Sardar Vallabhbhai Patel, our
national leader is expected to give
a lecture on the benefits of prohi-
bition.
ARUNA PICTURES:
"Netaji Palkar" under the direc-
tion of Bhal G. Pendharkar is being
steadily shot at the Huns studio.
The picture is likely to be com-
pleted sometime in the month of
April.
CALCUTTA
NEW THEATRES:
"Dushman" is getting finishing
touches from director Nitin Bose
and it is expected to be ready for
release by the time this issue is in
your hand. It is reported to be a
great drama of human souls which
revolves round the theme of the
dreadful disease of tuberculosis.
Director Mullick is shooting "Bar
Didi" in Hindi and Bengali, while
that old juggler Devaki Bose is
busy with the shooting of "Snake
Let us attempt to name some of them — the guests at the Taj at the luncheon in honour of Mr. Baburao Pai
given by Mr. J. J. Patel with Sardar Chandulal Shah presiding. Beginning from the right corner 1. Mr.
Narayan, 2. Lata Alopi Prasad, 3. Mr. S. Fatehlal (Prabhat), 4. Mr. Mohanlal (Mohan Pictures), 5. Mr.
Kapurchand (Kapurchand Ltd.), 6. Rat Saheb Chuni Lall (.Bombay Talkies), 7. Mr. Baburao Pendharkar
(Huns), 8. Mr. V. Shantaram (Prabhat), 9. Sardar Chandulal Shah (Ranjit), 10. Mr. Baburao Pai (the
Chief Guest), 10. Mr. Jagannath Patel (Bauer Representative and the Host), 11. Mr. M. A. Fazalbhoy (Fazal-
bhoy Ltd.), 12. Seth Chimanlal Desai (Sagar), 13. Mr. Kevalchand Mehta (Kapurchand Ltd.), 14. Mr. R.
G. Torney (Saraswati), 15. Mr. P. C.Kapadia (Evergreen), 16. Mr. Sohrab'Mody (Minerva), (In the cross
row) 17. Mr. Abbas (Bombay Chronicle), 18. Mr. Baburao Patel (Filmindia), 19. Mr. K. S. Hirlekar (Secre-
tary, I.M.P. Congress), 20. Mr. Gopalswamy (Times), 21, Mr. Camer Saleh (Filmindia).
49
FILMINDIA
Charmer." "Kapalkundala" in
Hindi is being steadily shot by Mr.
Phani Muzumdar, the man who
gave us "Street Singer." Altoge-
ther, the New Theatre studios are
working in full swing and the
directors are busy every minute.
SOUTH INDIA
SARATHI FILMS LTD. (Madras)
With "Mala Pilla" doing good
business in the South, another so-
cial picture called "Peasant's
Daughter" is being rehearsed in
the Motion Picture Combine stu-
dios and the picture will go into
shooting early next month. After
completion of this one, "Battle of
Palnad" will go into production.
NEWTONE STUDIOS (Madras)
Yet another sound stage with
up-to-date machinery is being in-
stalled in this big studio. The hos-
pitality and help which these peo-
ple extend to their patrons, have
induced several independent pro-
ducers to produce their pictures in
this studio. Already four big pro-
ducing units are operating here
and a few more are on the wait-
ing list to engage tne studio floors
for shooting. Vaunini Pictures'
"Vandemataram" will be com-
pleted before the end of the
month. "Tiruneeiasantanayanar"
is fast nearing completion. "Saku
Bai" featuring Miss Aswathamma
is being steadily snot and "Chitra"
the maiden attempt of Deeoam
Films will go into snooting before
the end of the month.
ASANDAS CLASSICAL TALKIES
(Madras)
Producer Asandas will take up
"Mani Mekhalai" &s his next pic-
ture with Miss K. B. Sundarambal
in the lead at tne Tollywood Stu-
dios in Calcutta. Mr. M. L. Tandon
will direct the picture.
THE LONDON FILM EXCHANGE
(Madras)
The distribution rights of
"Mohini Basmasura" are held by
these people. The picture will be
released in several important cen-
tres in the South early this month;
and from the aavertisements that
appear in Englisn papers, it is ex-
February 19
pected that the picture will hav
a good run at the box-offices.
KALIDAS FILMS (Erode)
After the luke warm receptio
given to "Kannappa Nayanar" th
producers have thought of pre
ducing another picture with a sc
cial theme. An influential cast le
by K. P. Kesavan, and supporte
by Miss Radhabai and Mathuran
is scheduled to play in the pictui
and there is every chance of tr.
new picture being a paying pre
position.
MAHALAKSHMI STUDIOS
(Madras)
The recent fire in . . . The Mc
tion Picture Producers Combir
Studios is responsible for the mu
fortune that was shared by sevt
ral producers who had their pu
tures under production. Mahs
lakshmi's "Inbasagaran" th
much talked of picture was burn
The producers have started 'think
ing'! Rajgopal Talkies' "Krishn
Thoothu" was also burnt but the
have started re-shooting the pi
ture.
IMPERIAL MAIL
INDRA MOVIETONE'S
•
WARNING
If you have a weak heart,
and unable to stand in-
tense excitement or even
shock, please do not see
this amazing thriller: —
Faster than the fastest Mail
Comes Indra Movietone's
Imperial Mail
DirecUi L: R. N. VAIDYA
it With a galaxy of
Stars, headed by:
BABURAO PAHEL-
WAN, PUSHPA RANI,
SHAH JEHAN,
SHAMSHAD.
DHIRAJ L A L L,
NISSAR AHMED,
SUNDER SINGH.
%t bookings apply to.— R. 8. CHANDANMULL INJDRAKUMA&
Laniinglon Rd., BOMBAY. Beadon Rd., LAHORE. 3. Synagogue St., CALCUTTA & BANGALORE
50
Two Tflole Qicjantic iTladan Productions
A) ABLAKI SAKTI
Featuring : — Premlala, Pearl, Laxmi,
Mustafa^ Chunilal etc.
B) DILFAROSH
Featuring : — Jehanara Begum and Khali I.
FOR TERRITORIAL RIGHTS OF THE PICTURES AND FOR TALKIE SET:-
Apply:— INDIA PICTURES Ltd.,
178, Harrison Road, CALCUTTA
In 1939 New Radio Series
Before you buy a Radio don't miss to see
SWISS MADE
lb stands at the top of all. Available
for AC, AC/DC and for AC/Battery
(6 volt car battery) with Magic eye and
entrancingly beautiful wooden cabinet
PAILLARD 7 tube Superheterodyne
Outstanding features: 7 tube 1 1 0 to 25oV 40/60 cycle. 8 speaker, wavebands
13 to 570 meters ensure reception of all Indian stations besides foreign, clear and
loud. AC/DC acclaimed as better than any other AC/DC receiver on the market.
Wanted Distributors: • Sole Distributors:
INTERNATIONAL RADIO COMPANY.
Opp. Marine Lines Station,
P. O. Box 486
Tel. 2249C
Queen's Road. BOMBAY.
TaUgrami : "GRAMORADIO"
Kicks and Kisses
Many a girl has gotten first-hand
information in a second-hand car.
* * *
Men want women to be like
stars in their lives; come out at
night and disappear in the morn-
ing.
* • •
"I'll bet you were furious when
you came home and found that
roomer in your wife's arms," said
one landlord to another. And the
other thundered, "Yes, even then
she couldn't make him pay his
rent!"
* ♦ •
Even smooth whiskey, can make
a man get rough with a girl.
* * •
All a girl has to do to get some
men playing with fire is show them
a bit of hose.
* « «
When a girl has a vacant look,
it means that some man is occupy-
ing her mind.
* • •
Many girls have been taken in
when they thought they were just
being taken out.
* • •
"Handsome, haven't times chan-
ged a lot? Thirty years ago men
used to worship at women's feet."
"Sure! In those days it was only
their ankles that showed."
* • •
"I'll bet you hated to hear the
alarm clock ringing this morning,"
guessed the first stenog. And the
second said, "I'll say I did! It woke
my mother up just as I was get-
ting into the house."
* • •
When a woman finds she's
hooked up with a worm, she usual-
ly starts fishing for something
better.
* » •
When the animal starts coming
out in a girl, she's willing to be
the goat for a fellow that wants
a pet.
52
"I had a terrible time when I
went motoring with old Mr. van
Doughbags."
"Wouldn't you think a man like
that would act his age."
"That's just the trouble. He
did."
» • •
Oddly enough, the apple of a
man's eye is very often some other
fellow's peach.
* * *
A fellow never believes that love
is blind, until some girl blackens
both his eyes.
* • •
A fellow who burns the candle
at both ends is usually found with
a little flame in the dark.
• • •
The honeymoon is the morning
after the knot before.
• • »
"When I visited the theatre
back-stage, one of the stagehands
for a prank locked me up with the
chorus girls in their dressing
room."
"Did you settle with him after
you were left out?"
"Yes, I gave him a hundred
dollars."
■ * *
When a certain lass heard that
people see things they shouldn't
see at the movies she cooed, "Well,
they wouldn't if only all the lov-
ing couples would sit in the last
row."
• • •
A stitch in time has saved many
a nudist colony.
• • •
Instead of trying to bury the
past, the golddigger tries to dig up
a present.
• • •
Girls who never play ball, sel-
dom make a catch.
The model who is the apple
an artist's eye, is generally peele
* * »
Never marry an astronomer. I
is always searching for stars ai
heavenly bodies.
* » •
A girl who throws herself at i
man seldom makes a hit.
■ • •
The bird that flies the highe
is the night owl.
* • »
If an old flame burns a fellc'
up, a new match will set him ofl
Sometimes the girl that car
knit has the best yarn.
« • •
A fellow who tells a girl th
she's all the world to him, usual
feels that the world owes him
giving.
* • •
The worst kind of Peeping Tor
are gals who don't close their ey
when you kiss them.
« » »
A girl's pins hold a man bett
than pasting him.
* • *
When a girl's fit as a fiddle si
needs to be played.
* * •
The modern woman doesn't mill
a man showing his hand if he hi
the jack in it.
* • *
American women are the mcj
beautiful women in the won
You can see the figures in prooj
* * *
You gotta burn the midnight <U
to carry a torch for a night clifl
baby.
* * •
The girl: Stop!
The Boy: But I am up to r'
neck in love.
The girl: Nix! You can only I
knee-deep when you're with me1
* * *
When a man gets wound up all
goes cuckoo over a woman, rjfl
hour has struck.
* * *
He: I'm going to kiss you, all
thrill you too!
She: Really, What are you goilj
to do after you kiss me?
The Conquest that Commands Attention
Pathe Cinema
to do
Indian w.il,
SAGAR PICTURES
Sagar's Sensational Release
liflDIES
ONliU
will open the PATIIK
Hare Yo u 8 e e n
The Biggest Surprise
Picin re of the Season .'
Sagar's
Service Limited
Director: C. M. Luhar WJbc.
I Starring: SURENDRA, MATH; B 1680 YAKUB and others
I'll lining Ok
Imperidl Cinema
Bombay
fad not* that ty>J7Pdiy, maid o$ "300 DAYS <5t AFTER" tdli uou tomMwQi
LADIES ON L Y TUduAe. coMnat A^ohd to YfliM !
/,vuw PATtiE CINEMA
HIGH W A T ~ R MARK OF FILM ENTERTAINME*
It is only once in a way,
That you get a Picture like this.
Jf ]YT ADHU pANSARI
* A Picture That Will
Make You Tremble with its
Dazzling Spectacle
Featuring:
★ Sarojini. Shanker
Vazre, Bose, Bacha,
Alii, Ganpat,
Mirajkax, Man so or,
Roshan. Pokhraj Etc.
actions :
• Golden Gang
• Aflatoon Aurat
• G h a nc h akkar
Adventures of Sheikh Challi
Fur Booking :
PARAMOUNT FILM GO.
Parekh St , Bombay-4
Phonm 41340
directed CBy \
KIKUBHAI DESAI
Awaiting release at the
LAMINCTON TALKIES - BOMBAY
Printed by Carrier Saleh at the New Jack Printing Works, 75, Apollo Street, Fort, and published by
him for 'filmndia Publications Ltd.' from 104. Apollo Street, Fort, Bombay
SHREE RANJIT
MOVIETONE'S
S YMB OLIC
SCREEN - HIT
a RANJIT PICTURE
T/ie Deoil's Gheck TTlates :
GIRL & GOLD
LURE & LUST
BHZIGHR
YOUR STORY AND MINE
Daring Drama
Dealing with
Fundamentals
of
Human Life
Directed by : MANIBHAI VYAS.
Starring : Ila Devi, Trilok Kapur, Charlie,
Khatun, Anis.
WEST END TAEttlES
3517
> D. B. NEROY & Co
K H A TAUWADI
0 I R Q A U M
13 C H BAY
Telephone No. 26734
( THE ECTTLE CP DCANDy)
A Boon To Every Film Actor and Actress
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AGENTS WANTED FOR UNREPRESENTED AREAS
WRITE TO
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Tele
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[Grams OZONE
Proprietors: Filmindia Publications Ltd., 104, Apollo Street, Fort, Bombay
Editor: BABURAO PATEL
Vol. 5
MARCH 1939
No. 3
> SuLtcripltoH :
Inland Rs. 5/-
urma O- Foreign Rs. 8/-
Slngle Copy As. 8 -
GIRL ON THE COVER
SULOCHANA
in
PREM-KI-JYOT
(Ruby Pictures)
"ILis glantel Thud gty"
"Gunga Din" is coming to India. But before
it does so, it will go all over the world and tell
the world that Indians are sadistic barbarians and
unfaithful dogs who need the stern rule of their
white masters to teach them to behave like faith-
ful dogs, which incidentally is the ideal life pre-
scribed for the treacherous, scheming and un-
scrupulous "natives" of India.
"Gunga Din" is produced by the R.K.O. Radio
Pictures Corporation of America. It will be
interesting to recall that far back in 1933 that
scandalous picture "India Speaks" was also
produced by the R.K.O. Radio. A storm of pro-
test swept throughout our country and the tins
of "India Speaks" were returned back to Ame-
rica even without being submitted to the Cen-
sors, saving the Indians the mortification of see-
ing a disgusting libel against themselves and
their nation.
But the rest of the world — the white world
to be accurate — received .the picture with en-
thusiasm and millions in every corner of the
world got through the American 'keyhole' a
cock-eyed peep of India and her "natives".
To justify their own barbarity in keeping
the coloured races as slaves for the white mas-
FILMINDIA
March 1
ters, the white men of the West must have such
pictures from time to time to salvage their own
conscience and give it a longer life. "India
Speaks" richly underlined their "right" to rule
a nation of "treacherous natives".
MAHATMA GANDHI RIDICULED
Again in 1935, R.K.O. Radio produced a two-
reeler comedy "Everybody Likes Music". It was
a comedy for these Yankees, but what
would it have been to us to see our revered
leader Mahatma Gandhi 'portrayed as an im-
moral drunkard dancing with a low woman in
a cheap saloon? The only "courtesy" they ex-
tended to us was not to name the character after
Mahatmaji, but his figure, his dress, and all his
peculiarities, which have become so sacred and
dear to our nation were used to convey an exact
identification that could not be missed. It was
a perfectly legal blackmail on a nation that is
valiantly struggling to break its shackles of
bondage. Fortunately a last minute discretion
on the part of the Calcutta branch of R.K.O.
prompted the removal of about 200 feet of this
offensive portion, again before being submitted
to the censors— but only for India. The insult
was however broadcast with a relish all over
the world and the whitemen laughed at the man
whom we worship as a god in our country.
The libel found multiplication in other pic-
tures, produced by other American and European
producers, like "Wee Willie Winkee," "Lives
of Bengal Lancers," "The Charge of the Light
Brigade," "Clive of India" and "Kid Millions",
and "Tiger of Eschnapur".
Then came the fateful "Drum" produced by
Alexander Korda to beat the drum of British im-
perialism all over the world, of course, at the
expense of the Indians. The drastic measures
taken against this picture by the different provin-
cial governments crowned "filmindia's" agitation
against it with a success that has given us fresh
hopes to launch a world wide agitation against
all Anti-Indian pictures and someday succeed in
v/aking up the deep-dyed conscience of the fo-
reign producers and stop them from committing
such dastardly outrages on an innocent, peace
loving people with traditions that would make
any white man jo green with jealousy.
And now through the courtesy of Mr. K.
Abbas who had the doubtful fortune of perusi
the script of "Gunga Din" in Hollywood, anoth
shameful conspiracy to belittle India in the ey
of the world has been brought to light. A char
of ingratitude has been laid at the door of
Abbas, a respectable and responsible Indian jo
nalist, for turning round and telling his count
about the libel in "Gunga Din" after being tre
ed "well" in Hollywood by the producers.
All that Mr. Abbas had got was
solitary lunch from Warners which,
cording to the ideas of these America
should have helped Mr. Abbas to swallow
patriotism and love for his country. To justi
that cheap courtesy lunch, a patriotic Indian m
sell his country so that the whitemen of the W~
may appreciate his peculiar trait and "broa
mindedness". Well, this procedure may be a vi
tue in the West but not so with the East.
Instructions have already been sent acrot
the Atlantic to be wary in future with India
who visit the studios.
HOW FOREIGNERS PAY BACK
By the way it is amusing to hear these f
reigners talking of gratitude. How convenient
they seem to forget the hospitality showered
Miss Katherine Mayo, by the British Indian Go
ernment and people in India. And what did f
American woman do in return? She went ho
and wrote an unscrupulous book on India and
make a few dollars and to earn cheap notorie
she condemned a whole nation with noble tra
tions. "Mother India" is too notorious a spe
men of American gratitude.
Only a little over a year ago, the Mahara
of Udaipur placed all his resources and hospitali
at the disposal of the Tobis Film Expedition fro
Germany. And they went back and called t
Indians "as slow as snails and more stupid th
dogs". One wonders who the real dogs are!
The Tommy who wrote "The Drum", A.
W. Mason, thinks, loudly enough for the world
know, that the critics in India unnecessari
created a "fuss and a row" when he had sho"
the Indians as "good old fellows". Yes, "good o
fellows", who invite the white men as guests f
Ifrch 1939
FILM INDIA
Blinner and then shoot them — "good old fellows",
Bio provide an excellent target for the bullets
I the white men. Damn cheek, we should call
i for a famous writer to commit the sin of abus-
1* his fellow men and then call upon his intelli-
gnce to justify it.
But the vital question is whether the white
Iin looks upon the coloured person as fellow
r man-being? The only hope for the coloured
fc:es of the world, is the fact that every white
Bin, however, is not as bad as the ruling class.
Speaking to a friend of ours Mr. T. F. Bir-
nall, the Chief European Correspondent of the
few York Times, who is now in Bombay, thought
i; "Gunga Din" article in the last issue of "film-
iliia" a very sensible contribution and wondered
■ly American producers produced such pictures
Bat offended other nations.
j We are relying on men like Mr. Birchall to
Bike up the conscience of their people and tell
l?m that trade and friendship must be based on
Bodwill of a nation.
I OLIVER THE ULTIMATUM
"Gunga Din" must be banned in India and we
H? sure it will be. But the mischief doesn't end
W?re. That disgraceful picture will go all round
n? world with its cruel, insidious anti-Indian
ippaganda, fortified with the knowledge that In-
nins cannot reach them in other countries. And
ft consequence Indians will be defamed as bar-
Brians and dogs.
I More drastic measures must be taken to stop
Ms mischief. An ultimatum must be given to
H.O. Radio Corporation to withdraw the pic-
W*e from the world markets and to destroy the
Kjginal negative in the presence of Indian ofn-
ld Is on the pain of all their other productions
ting banned in India. A severe step like this will
,tich the other producers a precious lesson which
W?y so badly need.
We draw the attention of our people to the
snificant words of Sardar Chandulal Shah, the
C airman of the Reception Committee of the In-
o.n Motion Picture Congress and of Rai Saheb
<luni Lall, Vice President of the Motion
l:\ure Society of India, printed elsewhere in this
issue and call upon the people and the Provincial
Governments to take immediate drastic action by
exercise of the powers enjoyed by them under the
present constitution.
It was a splendid gesture on the part of the
British Board of Film Censors to ban "The Relief
of Lucknow" before it went into production at
the instance of the Secretary of State for India
as the production of a picture like that would not
help to improve the relations between the two
countries just at present.
From our Delhi correspondent, we under-
stand that the Government of India has further
warned an English Expedition in India shooting
local scenes in colour to guard against the na-
tional and religious susceptibilities of our people
by avoiding scenes that are likely to embitter the
relations between the rulers and the ruled.
All this is very correct, but one wonders
whether these actions are prompted by a real
change of heart or by the crisis that is looming
large on the political horizon. Whatever be the
reason it is strange to note that when the ruling
race of Britishers have relaxed its imperialist
outlook to please the Indians, the Americans, who
are utter foreigners should go out of their way
to scandalise our country, forgetting the primary
fact that they are in India mainly for business
which depends and flourishes only on the good-
will of the people of this country.
OUR SILVER JUBILEE NUMBER
The next issue of "filmindia" will
be a Silver Jubilee Number. Apart
from the fact that it will be the best of
our issues, it will be just DIFFERENT
from others.
It will have more colour plates,
more photographs and more reading
matter.
Don't miss a copy if you are an
enthusiastic film fan.
Price As. 8 as usual.
FILM INDIA
FILMINDIA'S CHALLENGE
To those misguided foreign producers who
revel in this cowardly game of slander, we warn
that "filmindia" will not relax its untiring efforts
in prosecuting a country-wide agitation against
anti-Indian pictures, till our country recovers its
self-respect in the eyes of these foreigners. The
next step in the fight is the big yard-stick, which
even non-violent non-cooperators like Indians
can use with deadly effect if time needs it.
Americans should not forget that India's
weapon of non-violence has brought even the
proud British imperialism down on its knees and
the American commercialized dominance will not
be much of a match for it.
The West will soon need the East as friends
but this is not how that friendship can be built.
March 1!
Coming to the part played by the Indi
Exhibitors in showing such anti-Indian pictun
advertising them, pushing their claims and
other ways going all out to support the forei
producers, we must readily admit that in eve
fold there are some black sheep. These men,
they can at all be called men, deserve the cc
demnation of every right thinking human beii
Finally, we appeal to our national leaders
take up this matter and thrash it out at the Si
sions of the Tripuri Congress and thereby gi
the nation a lead which it so badly wants just
present.
The Indian Motion Picture Congress, whi
is to be convened during the Easter should a
not lose sight of so important a problem which
so vitally linked with our national respect.
CremOson
ACTIVE OXYGEN CREAM
r: . 3-8
A series of experiment on skin bleaching have shown that all organic colouring
matter reacts to the bleaching action of Oxygen. This principle is utilised in
a very judicious manner in preparing an Oionised Cream under the name of
CREMOZON. Each jar of CREMOZON liberates about 200 cubic centimetres
of fresh active Oxygen which acts on the pigment and gradually bleaches the
same, thereby making the skin permanently several shades fairer.
The presence of other useful emolients in CREMOZON makes it exceedingly
useful in removing freckles, black heads and sunburn. CREMOZON is highly
antiseptic thereby destroying germs which cause skin diseases.
AT ALL CHEMISTS AND STORES OR FROM:
COSMETIC DEPT., "CIPLA". - • • BOMBAY 8.
6
Bo
C
MBAY CALLING
Ihis section is the monopoly of "JUDAS" and he writes what he
likes and about things which he likes. Tfie views expressed here are
not necessarily ours, but still they carry weight because they are
written by a man who knows his job.
|EZ" & ISLAM
Americans don't care whether Hassan is a don-
or a human being. But Indians do. Hassan is
idian name and in American pictures if the name
ven to a donkey, Americans perhaps get a kick
bf it, as they get one more chance of laughing at
Indians.
But Hassan has a greater significance than being
tly an Indian name. Hassan and Hussein were
Mahomedan martyrs in whose memory the whole
slam mourns for 10 days. Hassan and Hussein
the brave sons of Hazrat Ali and Fatimah. Fati-
was the only daughter of the Prophet Mahomed
e Hazrat Ali was the fourth Caliph, a great ruler
self.
Mahomedans all over the world revere these
es and to think that one of these sacred names
:ld be given to a donkey, is the height of foolish-
on the part of the producers. And that is exact-
hat has been done in "Suez" a 20th Century Fox
ire which is coming to the Regal Cinema, Bom-
on the 4th March.
Annabella. one of the heroines of the said pic-
calls her donkey by the name of Hassan and it
me so many times that one cannot miss its hid-
significance. In fact, one even feels that the
tition and the hero's inquiry "whom are you call-
and her reply "Hassan, my donkey", are intend-
insult our people.
Till the time of writing this, we understand that
Bombay Board of Film Censors has passed the
without any changes. Anything better cannot be
cted from the present Board, managed as it is at
nt. There is hardly anyone on the Board who
ffs enough about anything, religious or otherwise,
xpect them to know something; about the hallow-
nartyrs of Islam is ridiculous. But now they
Id know.
We demand that the Censors should cut out those
es from the film where the donkey is called Has-
"Suez" may be a very good picture, but let it
be so at the expense of Islam and one of its hal-
martyrs.
Let Hassan remain a sacred name to all Indians,
hey Hindus or Mahomedans. Christ's martyrdom
have been great, but Hassan's was no less.
To call a donkey, Hassan, is not only insulting
Islam, but all Indians. If producers in India, Egypt
and Turkey were to portray Christ or Luther in the
same insulting way, the entire Christendom wo aid
rise in revolt. If an untouchable in India was to be
called Hitler or Mussolini, Germans and Italians
would move heaven and earth to wipe the insult off.
Does it not therefore occur to these foreigners
that India feels the same way about her heroes?
Would not Americans be insulted if a sweeper in
the streets is named Roosevelt?
Well, why not think the same way about Indians?
IN MEMORY OF A PIONEER
On the eve of the Silver Jubilee Celebrations of
the Indian film industry, it will be proper to recall
the services of the late Mr. Abdulla Fazalbhoy, who
took a very significant part in the fast progress of
the industry during the last ten years.
The genial but dynamic personality of the late
Mr. Abdulla Fazalbhoy appeared on the horizon of
film industry at a crucial period of transition when
those already in the industry were toying with the
present and trembling for the future.
With the arrival of Talkies from America, our
producers of 'silents' became panicky and for months
on end wondered about the production of talking pic-
tures. They did not know where to go and what to
do. They badly wanted guidance.
And it was at this time, that Mr. Abdulla Fazal-
bhoy stepped with his rich experience in radiology
and broadcasting and founded the Sound Equipment
Co., Ltd., to make up for enterprise and supply the
needs of the hour.
In a few months, producers became as intimate
with the new order of things as with the old. Thanks
to the pioneering spirit of Mr. Fazalbhoy, everything
that the industry needed from a bulb to a recording
machine, was at the command of the producers.
And then from one good thing to another the
late Mr. Fazalbhoy went on till to-day, even after his
premature death, Fazalbhoy Ltd.- as the different
enterprises are collectively known — comprises differ-
ent activities such as: selling recording and reproduc-
ing machines, radios, and other accessories, producing
Indian talkies and even financing them etc., etc.
9
FILMINDIA
But to crown all, that is not all for which the
late Mr. Fazalbhoy will be remembered by posterity.
In donating and establishing the Abdulla Fazalbhoy
Technical Institute and handing it over to the con-
trol of the St. Xavier's College, the late Mr. Fazalbhoy
has a special claim on the gratitude of the present
generation.
The wonderful success of this Institute will ever
remain a proud record of the Fazalbhoy family which
to-day wields tremendous influence in trade and so-
ciety. Can we forget the late Mr. Abdulla Fazalbhoy?
AN APPEAL TO FANS
One more instance of the high regard for "film-
india" is the adoption by the prominent producers of
our suggestion to help Mr. D. G. Phalke the father
of the Indian film industry. Elsewhere we have pub-
lished the names of the Phalke Purse Fund Com-
mittee which has been formed to collect contributions
to the Purse Fund.
We have now to appeal to all in the industry to
do their bit by contributing generously to the Phalke
Purse Fund.
Not only do the people in the industry owe an
eternal debt of gratitude to the venerable father, but
the fans in general, all over the country, also owe all
their present entertainment to him.
When seeing the next Indian picture, the fans
should remember that had it not been for Mr. Phalke,
perhaps they would not have seen any Indian picture.
This thought is bold, nevertheless one cannot get
away from the fact that Mr. Phalke was the very first
man who produced films in India.
Fans must do their bit by contributing to the
Purse Fund. Remember, the old man needs all the
help we can give him. He needs it, remember that
again.
B» \7VQ RAI SAHEB
that an appeal to Rai Saheb Chuni
•e: be wasted. His regard for "filmin-
iive suggestions in all matters
has incidentally made him one
■ ' hing friends in the industry.
So ; ■ - I to him in the affairs of the
10
PIK
tare
March
Motion Picture Society of India we knew that tr
would be readily remedied.
Only two months back, the Society had bee
a top heavy liability, owing to the indiscretion
publishing an Year Book which was destined to
money. A big debt had mounted up in conseque
and the existence of the Society was threater
Had the Society been wiped off, it would have
a great pity, considering the all-important fact
it had just received official recognition.
But one can always rely upon the last mini
resourcefulness of an efficient executive like the I
Saheb, whose brilliance in his own field of activit
is considered incomparable. With a deft move tr li
would do honour to a shrewd bankar, the Rai Sah
has turned liabilities into assets and the Year Bo
and its tremendous cost of printing has now t
come the responsibility of the printers themselv
The Society is free.
THE NEXT PRESIDENT!
There is one thing more, and it is as importa
as the existence of the Motion Picture Society,
is to find the right man as its President for t
coming year. After the sudden and unfortuna
death of Sir Pheroze Sethna, Sir Rahimtullah CI
noy accepted the Presidentship. Sir Rahimtullah
a business magnate of the city and as such h
many irons in the fire. To expect so big and bu
a man to study the problems of our industry lnl
mately and in a short time is next to impossib
For a man like Sir Phiroze, it took years to get
K
The Picture You Must Not Miss
D E V A T A
(In Marathi)
It is produced by Huns Pictures and I
recommend it to all intelligent people.
Baburao Patel.
ih 1939
FILM INDIA
Ring acquaintance with the affairs of our indus-
r.md it must therefore be more difficult for Sir
Jmtullah to know everything about the indus-
pso soon. That the President of the Society,
liver he is, must have intimate knowledge of his
Sensibility, is undisputable.
tWould it not therefore be better, or even more
I to get a gentleman who works in the industry,
Ls everything about it and feels for it as the
E President of the Society? The general elec-
I: are scheduled to take place in the month of
a and we can think of only two persons either
|;hom could occupy the responsible presidential
Ir: Sardar Chandulal Shah or Rai Saheb Chuni
fer in the alternative Sir Rahimtullah must give
I promise to sacrifice more of his invaluable time
liture for our industry.
E JOURNAL OF THE SOCIETY
■The January issue of the Journal of the Motion
lire Society of India came to hand on the 15th
luary 1939. That speaks for its regularity. The
■up of the journal is much improved and from
■tiny pocket catalogue which it once was, it has
I become a magazine. A welcome change.
■But every magazine or journal must have some-
■g to read. And particularly so with an official
■ication like this Journal. The contents of this
I, barring a solitary article, are more or less
Bing and it is a pity.
■We see a new name — C. C. M. Hardy — as the
■or. That sounds foreign enough. We should
ik to ask the following questions:
II. Who is Mr. Hardy? What are his qualifi-
■ms to edit an official paper like the Journal?
■ long has he been a journalist? What previ-
■ journalistic experience has he got? And how
■h exactly does he know of our film industry?
■2. Have we no journalists of our own that we
Aid be compelled to search for one In a foreign
■ O; r\0
■3. What has the General Motors paid for their
■-page coloured supplement? They ought to pay
:b usual advertisement tariff? Have the full charges
■i paid?
■4. Is the journal going to be Anglo-Indian in
■mtlook and policy?
liWho is answering these questions?
Ml QUEEN RETURNS
■iThe most pleasant surprise of the month was
mote the return of Sulochana to the screen after
«ng absence. And it is a triumphant return in
•m-ki-Jyot" a picture produced by Ruby Pic-
Ms, a company in which D. Billimona and Sulo-
• ia share fortunes.
Do Coming Events Cast
Their Shadows Before^
Remarkable Accuracy of Indian
Astrologer's Predictions.
Sends FREE Test Horoscopes from
His Studio in Bombay.
Hundreds who have tested the skill of Pundit
Tabcre, famous Indian psychic, are proclaiming him
the modern wizard of Astrology. Dr. K. Katrak
declares that "Scepticism melts as mist before the
Sun when Tabore reveals in details the guarded
secrets of one's life."
Unlike many of the present day Astrologers,
Tabore believes that the ancient science was created
for useful purposes, and he em-
ploys his Special Methods to help
his followers to avoid mistakes and
achieve their worthy ambitions.
His Horoscopes bring one face to
face with facts, and point the way
to more desirable future and
brighter existence. Believing in
fair dealings, he refunds money in
all cases of dissatisfaction. Busi-
ness, investments, matrimony, love
affairs, travel, changes and coming opportunities
are among the subjects treated by him.
Those wishing to consult "Tabore" upon their
lives problems can obtain FREE a Partial Horoscope
by sending him their full names, (Mr. Mrs. or Miss),
address, date, month and year of birth, ALL PLAINLY
written in block letters. Tabore wants no remittance
for his personal (astrological etc.) work, but please
send him 4 annas stamps to defray costs (of this
notice, postage, stationery, clerical charges etc.). No
Personal Interviews; All Consultations by Post Only.
Address your letters to PUNDIT TABORE, (Dept.
330), Upper Forjett St., Bombay VII.
11
FILMINDIA
"Prem-ki-Jyot" strikes one as .a very sensible
picture produced with an eye on giving some in-
struction to our people while providing them with
entertainment. It is a story of two friends, bent on
extreme sacrifice for friendship. That incidentally
"Billy" and "Ruby" (as Billimoria and Sulochana,
are known to friends) also happen to be just as
faithful friends in life is a mere coincidence.
Sulochana sings, dances, speaks her dialogues
almost perfectly, acts superbly and above all looks
beautiful in a story that is gripping and interesting.
That is one reason why one should see this picture.
The second is "Billy" himself. He sings too, and
marvellously well and works — well just see and tell
us whether Sulochana could get a better hero.
A TOMMY AFTER ALL!
A. E. W. Mason, the man who wrote "The
Drum" is on tour. But there is no reason why he
should try to make his tour interesting by giving
press interviews which expose a little more of his
"within". Enough harm has been done to us by
writing a book like "The Drum". Why add insult
to it by trying to justify a bad job?
Aboard the s.s. "Strathallan", an anglo-Indian
press reporter found "Mason to be the essence of
good nature" (indeed, it must have been an essence
of ginger).
Talking about the film of his story "The Drum"
and the hostile criticism and agitation led by "film-
india" in India, he remarked: "I think the critics
here were just bent on making a fuss, and so they
March
had a row about it. I believe I made most of
Indians in the story excellent fellows!" He or|
kled, adding, "If Hollywood had done it
This old Tommy is tall i|
- _ - through his hat. Indians
ing to safeguard their nati[|
al prestige and pride agai
ft f " * the scandalous onslaughts
the foreigners, is just ":
■ and row" to this white
8ft • JH dier, who has turned bi i
gfo V and blood into pen and
while writing "The Drum". ;
"If Hollywood had don
"? What would our r.||
pie have done? Crawled
their fours before the Am |i
A. E. W. Mason cans? Indeed, Mason rr.||
come back here agil
again and study India as it is to-d
Let him not recall memories of the past to sq
problems of the present. If Americans do it, t\
get it back as tight. Don't worry old Mason, we
fast learning to look after ourselves. Mason sho|j
go back and tell his people to look out; — and qui .
ly, if Indians are to remain their friends.
It will be well for the Secretary of State
India to issue a general warning to such pro;!
ganda writers to keep a better control on
tongue. If they can't speak anything friendly,
them at least not speak something hostile.
The Spectacle !
I C ova I Jewel r\o. 5
Marathi Version
Story by: Principal P. K. Atre
Royal Jewel No. 7
Dinctfd by: Vinai ak
s First Picture on "NATIONAL" Celibacy.
India's GREATEST Social Comedy,
en's BIGGEST Contribution to Human Happiness.
The Indian Picture
Which during its
non - stop - run
Has had to see the
Coming and Going'
of as many as
2 6 Pictures
Including those of Al Bran
With Al Directors and Al Star
So Far
How Par This 'So Far' Is To Go
Hindi by: Pandit Indra
Hindi Version of Brahmach
For North With:
Best Film Exchange, Delhi
For South With:
Devi Films Limited, Madras
tory Rights With. ROYAL FILM CIRCUIT, Bombay-4
12
ROSE—
In the latest Saraswati social "It s True", Rose has excelled herself by giving an
eloquent performance which pleases both fans and critics. The picture is booked
at the Central Talkies, Bombay.
25,000 !
"COM310NSE1VSE CROSSWORD" JVo. i4H
Next week's Offer brings you a golden opportunity of ensuring a covetable monthly income of Rs. 700 i
2 years or, alternatively, a fat Five Figure cheque Down. In addition to this First Prize plum no less than Rs. 9,0
has been set aside for Runners-up and unlimited attractive Extra Prizes extending to all solvers whose entries contain
four errors or less. " Practice makes perfect " and you will agree that here indeed are abundant reasons why y
should begin putting in some practice at once on the Square below :
4.
7.
8.
9.
10.
13.
14.
17.
19.
23.
21.
23.
25.
27.
30.
31.
33.
34.
CLUES ACROSS
There is always one at the top of our
prize lists for you
What bird's wing does in flight
Instead
Ocean
Enemy
To take the place of
Repression in childhood causes many
a young person to seem this
At first sight most of us mistrust a
queer one
Alas ! how often are words spoken
in this bitterly regretted
Everything
As a rule how foolish it is to this
one's age !
Vaporous substance
Large
Small dwelling
Withered
Bad temper is apt to make a person
this
Chanted
Homesick Englishmen stationed
abroad long to see those of England
again
*>!-•. «rt:mes easier to confound
obstinate youngster by letting
h:tc ifurve his . . .
CLOSING DATE MARCH 24th
-The Entry Fee in this Competition is Re. 1
per entry and Entry Squares will be published
in the issues of March Sth and 12th.
A
6
»
o
E
W
Copyright of these puzzles strictly
reserved by the Compiler.
n. L'.en endeavour
indiscreet oats
COMBES
ONLY ENTRY SQUARES
CUT OUT FROM
"THE ILLUSTRATED WEEKLY
OF INDIA"
of March 5th or 12th
will be accepted
AVAILABLE FROM ALL
to avoid
CLUES IM>H\
1. One can seldom do this well wb
acutely worried
2. Visionary
3. Hint
4. Pleasant one is sometimes
ugly by distortion
5. Connoisseurs' opinions differ wid
on the comparative merits
these
6. To fasten with needle and thread
8. Killed
11. Danger
12. Children are much less trouble
look after when they are this
13. He is certainly a queer young m
who hasn't one
15. It is often difficult to be pleasant
people who " " us
16. We see many gruesome ones on t
film these days
17. Such affluence tends to make a i
discontented with life
18. Stiff ones affect a person's gait
22. Anything
24. The natural prey of women !
26. Christmas
28. Reversed spelling of word
freedom from pain
29. Without the Sun's we could not ex
32. Its c rudeness often robs poor con
dian's of any humour
NEWSAGENT
. EDITOR'S mfllL
Headers "when you are luorried " write to me. I will do my best
in serving you. Serious matters will be treated seriously, while
Hippant letters ivill receive like replies. — The Editor.
m: P. Kesava Rao (Masulipatam).
May I know why Motilal left Sagar and Rajku-
ri left New Theatres? Where are they now?
To better their prospects. Motilal is now with
the Sudama Productions, a company started by
Badami and Sabita Devi in association with the
Ranjit Film Company. Rajkumari worked in a
couple of Ranjit pictures and has returned to
Calcutta, probably into retirement from the
screen.
tm: L. B. Garden (Bhagalpur).
Why did Sabita leave Sagar?
To start her own production company. She
seems to be following iri~ the footsteps of Miss
Gohar. But will she get Gohar's luck? Besides,
Gohar had a better equipment in herself being a
great emotional star and in Sardar Chandulal
Shah a good director and clever businessman.
Sabita has only Badami as the director.
I have never seen Jamuna singing in any film.
i so?
If you have seen "Adhikar", you must be sleep-
ing when Jamuna sang a good song in a Balinese
tune, or you have not seen "Adhikar". See it and
then ask me another.
>m: B. V. C. Rudrappa (Doddaballapur).
If I request Kanan Bala for an original photo of
will she send one?
What is wrong with requesting? Do so, by all
means. Your name however is not an encourag-
ing recommendation nor is the town. By the
way, where is this town of yours?
»m: R. K. Mahandroo (Benares).
Where is Vasanti nowadays?
You will soon see her in "Sant Tulsidas" pro-
duced by Ranjit Movietone and you will perhaps
say that she has never been better before.
im: J. Prakash (Lucknow).
Which is the better picture: Vidyapati or Adhi-
9
Both were very good pictures. The first one was
philosophy brought to life, the other was life
philosophized. Devaki Bose began with a vision
while Barua led up to one.
Is it true that Barua and Jamuna are married
to each other?
Not yet'
From: N. Chiranjeevi Rao (Waltair).
I have a good personality and I can sing in
Hindi, Telugu and English. I want to act as a hero
with Shanta Apte. What shall I do?
Shanta Apte also sings in Tamil and Marathi.
And recently she has picked up a couple of Mar-
wari songs. You learn all that and apply to the
Prabhat Film Company and then wait for luck.
From: B. N. Shukla (Rajnandgaon).
I love Kanan very much and want her photo-
graph. I wrote eight letters to her and sent her five
annas in stamps for postage. But she didn't reply.
What shall I do?
One must sacrifice at least five annas for love.
But if you are already disillusioned, then file a
suit for recovering those five annas with costs.
You can also add damages for upsetting the
mental balance.
From: K. Shiv Shanker Rao (Shimoga).
Animals play leading roles in many films. Whom
are we to admire; the animals, the director, the
story writers or the other artistes?
Admire the animals, please. Simply because be-
ing animals they cannot be directed by our direc-
tors and therefore they give a good natural per-
formance.
I find high sounding articles written by Pramilia
in some weekly rags. Who is this girl and where is
she working? And who is the other one — Romilla?
Pramilia has an obsession that she can write.
She probably acquired this when she was a school
teacher. Writing is her hobby and no one can
stop her from pursuing it. Pramilia is now work-
ing with Wadia Movietone, in "Jungle King".
Romilla is her younger sister and works with the
Mohan Sound Studios, Andheri. Both are nice
enthusiastic artistes.
Where is Keshavrao Date now?
He is playing a splendid character role in "gint
Tulsidas" produced by Ranjit Movietone,
15
FILMINDIA
March
From: P. Gajapathi Rao (Masulipatam).
I have heard that the great emotional artiste
Miss Gohar is a partner in Ranjit Movietone?
So have I! By the way, where did you pick up
this marvellous news which is over ten years old?
From: K. V. P. Singh (Jaipur).
There is a one-eyed fellow in my class. He wants
to join the film industry. Has he any chance?
What chance can he have when people with two
eyes are starving in our industry? Besides, a
film studio is too big a field for one eye to cover.
I should advise him to pursue his studies.
From: Narayan R. Helchal (Nagpur).
Who is the better actor between Saigal and
Vinayak?
Vinayak. Saigal, however, is the better singer.
From: Ganpat Mathose (Jodhpur).
What part, the students who are interested in
the film industry, can take on the occasion of its
Silver Jubilee?
They can become delegates by paying Rs. 10 and
attending the conference and discussions. They
can also secure the Distinguished Visitor's «
by paying Rs. 3. They will be invited for a n
lunch to be given on the 10th of April which
be attended by all the prominent film persoi
ties. They can also see the wonderful film Ej
bition that will be put up. The studios will c
duct courtesy tours for the visitors and exp];,
to them the working of a studio and the shoot
of a picture. They can contribute to the Pm
Purse Fund, opened in honour and appreciati
of Mr. D. G. Phalke. the father of the Indian f
industry. I suggest that the students desiring
take part in the Silver Jubilee Celebrations sh(
write to the Secretary, Indian Motion Pict<
Congress, 160. Tardeo Road, Bombay and get ti
campaign book which gives all the informati
Remember, students can make the Silver Jub
Celebrations a greater success.
From: B. Ram Prasadh (Durban).
Do you think that a South African boy has
chance of acting in Indian films if he has Sail
golden voice?
Every chance provided he sings and speaks I
well as Saigal. And if he looks better than S>
gal, then a better chance.
STYLE & ELEGANCE
mO
SAREES & SILK
Weddings, Dances, Races, At Homes
the Season is in full swing ! Are you prepared ?
Have you a collection of Sarees befitting these occasions ?
We have just opened the very newest in Silks, Sarees, and Borde
Each a stylish creation, yet modestly priced.
★ i
Beautiful Blouses made by expert tailors under supervisi
of lady attendant.
JUST GIVE A TRIAL
PCUCCMULL 111% [ind|
275, Hornby Road, Fort, BOMBAY.
larch 1939
FILM INDIA.
From: N. R. Kannan (Jubbulpore).
What is your opinion of "Awakening" produced
jy Mr. Bhavnani?
From what I remember now, I think it was a
pretty good picture. The pity however is that
Bhavnani never cared to produce anything bet-
ter since then — not even as good. I reviewed the
picture in the December 1936 issue of "filmindia"
and you can read what I then said, if you have
the copy.
rom: A. C. Sinha (Katihar).
Who is the most melodious from the following:
aigal, Surendra, K. C. Dey and Pahari Sanyal?
Saigal is easily the most melodious. K. C. Dey is
easily the most musical. Between Pahari and
Surendra, Pahari is the better singer.
rom: T. S. D. S. Gour (Jubbulpore).
Is Saigal married? If so, does his wife entertain
im with songs?
Yes. he is a married man. As regards the other
part, I think Saigal must be singing for her en-
tertainment to the tune she calls. It is usually
so with married people. They have either to sing
to a tune or dance attention.
with the stars in Bombay and Calcutta. Will you
print an appreciative article from me? Don't be paro-
chial?
I am not a priest to stick to a parish. I am a
journalist and if you give me some good stuff I
shall certainly print it, especially so when it is
about a girl with an angelic voice. I hope she
looks like an angel too. Much of the fun would
however be lost if she tries to live up to one. By
the way, I like the way you have described the
Andhra producers. Being of the same province
you enjoy the privilege. I don't.
From: Hari Shanker (Agra).
Fascinated by the charm of Miss Meera in
"Vachan", I sent her a silver medal With names en-
graved as a present. She however did not acknow-
ledge it. I am in a suspense as to whether my pre-
sent had a warm reception or otherwise. Could you
tell me what to think of the reception — a warm or a
cold one?
Luke warm, sonny. And that is because the me-
dal was of silver. And you say you engraved
'names' on it. What names did you call her? Try
it again with a gold medal and if Meera doesn't
acknowledge that gift, I shall pull her ears and
send you an action photograph of the same.
rom: Indira Kumari (Anantpur).
The Andhra producers are not telling you about
Andhra stars. It is extremely stupid of them. The
best star is Kanchanmala. She has an angelic voice.
I am sure that she will hold her own in comparison
From: D. Shridhar (Gwalior).
I have seen "Brahmachari" several times and
yet I want to see it again and again. Why?
You have probably seen Meenakshi in that bath-
ing costume. She is a good tease. Isn't she?
Damuanna Malwanker and Sardar in "Devata" a Marathi social picture produced by Huns and now
running at the West End Talkies, Bombay.
17
FILM INDIA
March 1939
From: K. V. Bhat (Mangalore).
Please give me the names of the actor and the
actresses who have the largest wardrobes.
If you mean wardrobes filled with the latest
clothes, then Baburao Pendharkar and Rose will
take the lead.
From: Jashan T. Dadlani (Nairobi).
Please rate the talents of the following music
directors from Bombay: Bali, Biswas, Jnan Dutt,
Mushtaq Hussein?
Bali is easily the best, having a better idea of
film music than others. But he has not been
able to do much owing to lack of opportunities.
Jnan Dutt comes next. Between Biswas and
Mushtaq, I like Biswas. He has more experience
to back him up.
From: K. Rama Pa.i (Cochin).
Has any of Rabindranath Tagore's plays been
filmed?
Yes, on this side only one: "Sacrifice" and that
too as a 'silent' produced by Oriental Pictures
Corporation Ltd. "Gora" is another, which is re-
ported to have been filmed in the Bengali lan-
guage.
From: Sajjan C. (Baroda).
Can Prem Adib compete with the mighty Motilal
in acting?
Oh yes! he can compete, but can he beat him?
From: P. N. Sharma (Bhopal).
You say that "Kanan is good in parts" in the re-
view of "Street Singer". I think she is superb
throughout. Don't you think you have erred, for
once?
I like that "for once". Well, I have erred often,
but not this time. Kanan could have been far
better in other hands and that is why I have said
she was good in parts. Do you remember Kanan
in "Vidyapati". Well, how much of her did you
see in "Street Singer"?
From: K. L. Asthana (Meerut).
Where is Bimla Kumari working nowadays?
With Bhavnani Productions in the "Son of Zam-
bo." Is that not enough?
From: Suresh Datta (Calcutta).
I visited Kanan at her Howrah residence several
times when she wan a girl of 12 or 13. Since then
she has beromc famous and does not even recognise
her old intimate friends nor cares to reply to their
lettrrv What more, her mother does not allow any-
18
body to have an interview with her, if he happens to
be a commoner. Will you kindly suggest a way out?
At 13 Kanan was safe from prying eyes, but at
23, she is not. Her mother is right in keeping
off idle and inquisitive persons. Kanan is a star
and as such has a large following. And if her
mother allows everyone to come along and have
a chat with her, when will the girl pursue her
career? Anyway, if you have been on old and
sincere and tried friend, it will be easy for you
to get round the mother and persuade her to
grant you a few minutes with Kanan.
From: Satya Deva (Dehra Dun).
Please recommend some books on film acting?
"Film Acting As A Career" by L. Bamburg and
"Film Acting" by V. I. Pudovkin are two good
books you should read. You can order them
through the New Book Co., Hornby Road, Bombay.
From: Miss Chandermani Puncham (Natal).
I am very anxious to correspond with Sulochana,
Devika Rani and Madhuri as I like them very much.
Will you kindly give me their address?
Sulochana, you can address as Miss Ruby Myers,
Warden Road, Bombay; Madhuri is Miss Beryl
Claessen, Mahim, Bombay; while Devika Rani's
letter can be sent c|o The Bombay Talkies, Ltd.,
Malad, Bombay.
Baburao Patel.
i AN APPEAL TO MY READERS
i Our film industry has completed 25
1 years of its struggling existence. And it
is celebrating its Silver Jubilee in the
Easter Holidays by convening a Congress
and organizing an Exhibition in Bombay.
It is the duty of every film fan to do
his bit on this occasion. He has two chan-
ces of doing so — either by becoming a
Delegate to the Congress or by being a
visitor.
Filmindia has intelligent readers and
they hardly need a second telling.
Write to-day, to the Secretary, Indian I
Motion Picture Congress. 160 Tardeo Road,
Bombay for details and enrolment forms.
READY FOR BOOKING ant immediate Release
See it On The Screen
OF
1C 1
mpenai v^inema
(The leading Theatre of Bombay)
The Picture that has all the elements of
screen entertainment that the fan could
wish for.
midnight mail
Directed by: K. AMARNATH
*
Starring:
Miss Yasmin, Nazir, Miss Gulab, S. Nazir,
Mishra, Master Gulam Kadar, Shirazi A.M.,
Indurani, Varne, Chandrakant B.A., Sadik.
MIDNIGHT MAIL IS MAKING
RECORDS IN THE NORTH!
(1)
KUL DIPAK
(2)
JUNGLE KA JAVAN
(3)
CHABUK WALI
(4)
VEER BALA
(5)
BHEDI TRISHUL
(6)
CYCLE WALI
RATNA LUTARI
Director. A. M. Khan
Featuring:
Miss Romilla, Chandrakant B. A., Kantakumari,
S. Alam, Miss Amina, Miss Anvari, Balabhai,
Fazal, Medi Raza, Ansari, Kaul, Haroon,
Maherbanu, Shahzadi.
Showing at: GLOBE TALKIES, Bombay.
BHEDI KUMAR
Director: Chunilal Parekh
► Featuring:
Miss Indurani, Yashvant Dave, Urmi
la Devi,
Baby Indira, Shirazi A. M., Rafik,
Ansari,
', Mishra, Sadik, Vasant Pahslwan and
others.
RAN SANGRAM
Director. A. M. Khan
Starring:
Miss Kantakumari, Chandrakant B.A., S. Alam,
Miss Amina, Anvaribai, Balabhai, Fazal, Ansari,
Medi Raza, Kaul, Shahzadi and Haroon.
IPatch for "CHASHMAWALI" & "JALTA JIG AR"
For Bookings apply to :
KAMNIKLAL
;Khetwadi Main Road, Bomba y-4
Everest's No. 1
: SITHRfl
id new-6
No. 1 Picture of 1939
comes from No. 1 Company
There need be
no hesitancy-
whatever about
billing it as
EZRA MIR'S
BEST PICTURE
Qqpsu
Itlelodq -
th m -
Story -
Jttiusic £y. ltafii|ue Gliazoavi
Coming at the
Imperial Cinema
BOMBAY
Khurshid &. Hazir join hands in qiuing qou
entertainment from the itart to the finish
with all the blessings of TClubarak.
"IT AR A
★
the Change of Address J^F*
For bookings apply to:
Everest Pictures Corporation Ltd.
Asian Building. Ballard Estate,
Nlcol Road, Bombay.
[arch 1939
FILM INDIA
i?rom: N. R. Kannan (Jubbulpore).
What is your opinion of "Awakening" produced
Mr. Bhavnani?
From what I remember now, I think it was a
pretty good picture. The pity however is that
Bhavnani never cared to produce anything bet-
ter since then — not even as good. I reviewed the
picture in the December 1936 issue of "filmindia"
and you can read what I then said, if you have
the copy.
From: A. C. Sinha (Katihar).
Who is the most melodious from the following:
Saigal, Surendra, K. C. Dey and Pahari Sanyal?
Saigal is easily the most melodious. K. C. Dey is
easily the most musical. Between Pahari and
Surendra, Pahari is the better singer.
^rom: T. S. D. S. Gour (Jubbulpore).
Is Saigal married? If so, does his wife entertain
rim with songs?
Yes. he is a married man. As regards the other
part, I think Saigal must be singing for her en-
tertainment to the tune she calls. It is usually
so with married people. They have either to sing
to a tune or dance attention.
with the stars in Bombay and Calcutta. Will you
print an appreciative article from me? Don't be paro-
chial?
I am not a priest to stick to a parish. I am a
journalist and if you give me some good stuff I
shall certainly print it, especially so when it is
about a girl with an angelic voice. I hope she
looks like an angel too. Much of the fun would
however be lost if she tries to live up to one. By
the way, I like the way you have described the
Andhra producers. Being of the same province
you enjoy the privilege. I don't.
From: Hari Shanker (Agra).
Fascinated by the charm of Miss Meera in
"Vachan", I sent her a silver medal with names en-
graved as a present. She however did not acknow-
ledge it. I am in a suspense as to whether my pre-
sent had a warm reception or otherwise. Could you
tell me what to think of the reception — a warm or a
cold one?
Luke warm, sonny. And that is because the me-
dal was of silver. And you say you engraved
'names' on it. What names did you call her? Try
it again with a gold medal and if Meera doesn't
acknowledge that gift, I shall pull her ears and
send you an action photograph of the same.
From: Indira Kumari (Anantpur).
The Andhra producers are not telling you about
Andhra stars. It is extremely stupid of them. The
best star is Kanchanmala. She has an angelic voice.
I am sure that she will hold her own in comparison
From: D. Shridhar (Gwalior).
I have seen "Brahmachari" several times and
yet I want to see it again and again. Why?
You have probably seen Meenakshi in that bath-
ing costume. She is a good tease. Isn't she?
Damuanna Malwanker and Sardar in "Devata" a Marathi social picture produced by Huns and now
running at the West End Talkies, Bombay.
17
FILMINDIA
March 1939
From: K. V. Bhat (Mangalore).
Please give me the names of the actor and the
actresses who have the largest wardrobes.
If you mean wardrobes filled with the latest
clothes, then Baburao Pendharkar and Rose will
take the lead.
From: Jashan T. Dadlani (Nairobi).
Please rate the talents of the following music
directors from Bombay: Bali, Biswas, Jnan Dutt,
Mushtaq Hussein?
Bali is easily the best, having a better idea of
film music than others. But he has not been
able to do much owing to lack of opportunities.
Jnan Dutt comes next. Between Biswas and
Mushtaq, I like Biswas. He has more experience
to back him up.
From: K. Rama Pa.i (Cochin).
Has any of Rabindranath Tagore's plays been
filmed?
Yes, on this side only one: "Sacrifice" and that
too as a 'silent' produced by Oriental Pictures
Corporation Ltd. "Gora" is another, which is re-
ported to have been filmed in the Bengali lan-
guage.
From: Sajjan C. (Baroda).
Can Prem Adib compete with the mighty Motilal
in acting?
Oh yes! he can compete, but can he beat him?
From: P. N. Sharma (Bhopal).
You say that "Kanan is good in parts" in the re-
view of "Street Singer". I think she is superb
throughout. Don't you think you have erred, for
once?
I like that "for once". Well, I have erred often,
but not this time. Kanan could have been far
better in other hands and that is why I have said
she was good in parts. Do you remember Kanan
in "Vidyapati". Well, how much of her did you
see in "Street Singer"?
From: K. L. Asthana (Meerut).
Where is Bimla Kumari working nowadays?
With Bhavnani Productions In the "Son of Zam-
bo." Is that not enough?
Ftob L-laresh Datta (Calcutta).
tied Kanan at her Howrah residence several
lii hen she was a girl of 12 or 13. Since then
she has become famous and does not even recognise
her old kntimati nor cares to reply to their
letter What mere, hei mother does not allow any-
body to have an interview with her, if he happens to
be a commoner. Will you kindly suggest a way out?
At 13 Kanan was safe from prying eyes, but at
23, she is not. Her mother is right in keeping
off idle and inquisitive persons. Kanan is a star
and as such has a large following. And if her
mother allows everyone to come along and have
a chat with her, when will the girl pursue her
career? Anyway, if you have been on old and
sincere and tried friend, it will be easy for you
to get round the mother and persuade her to
grant you a few minutes with Kanan.
From: Satya Deva (Dehra Dun).
Please recommend some books on film acting?
"Film Acting As A Career" by L. Bamburg and
"Film Acting" by V. I. Pudovkin are two good
books you should read. You can order them
through the New Book Co., Hornby Road, Bombay.
From: Miss Chandermani Puncham (Natal).
I am very anxious to correspond with Sulochana,
Devika Rani and Madhuri as I like them very much.
Will you kindly give me their address?
Sulochana, you can address as Miss Ruby Myers,
Warden Road, Bombay; Madhuri is Miss Beryl
Claessen, Mahim, Bombay; while Devika Rani's
letter can be sent c|o The Bombay Talkies, Ltd.,
Malad, Bombay.
!AN APPEAL TO MY READERS
Our film industry has completed 25
years of its struggling existence. And it
is celebrating its Silver Jubilee in the
Easter Holidays by convening a Congress
and organizing an Exhibition in Bombay.
It is the duty of every film fan to do
his bit on this occasion. He has two chan-
ces of doing so — either by becoming a
; Delegate to the Congress or by being a
| visitor.
iFilmindia has intelligent readers and
they hardly need a second telling.
Write to-day, to the Secretary, Indian
Motion Picture Congress. 160 Tardeo Road,
Bombay for details and enrolment forms.
Baburao Patel.
18
READY FOR BOOKING an2 immediate Release
See it On The Screen
OF
Imperial Cinema
(The leading Theatre of Bombay)
The Picture that has all the elements of
screen entertainment that the fan could
wish for.
midnight mail
Directed by: K. AMARNATH
*
Starring :
Miss Yasmin, Nazir, Miss Gulab, S. Nazir,
Mishra, Master Gulam Kadar, Shirazi A.M.,
Indurani, Varne, Chandrakant B.A., Sadik.
MIDNIGHT MAIL IS MAKING
RECORDS IN THE NORTH!
RATNA LUTARI
Director. A. M. Khan
Featuring:
Miss Romilla, Chandrakant B. A., Kantakumari,
S. Alam, Miss Amina, Miss Anvari, Balabhai,
Fazal, Medi Raza, Ansari, Kaul, Haroon,
Maherbanu, Shahzadi.
Showing at: GLOBE TALKIES, Bombay.
BHEDI KUMAR
Director: Chunilal Parekh
Featuring:
Miss Indurani, Yashvant Dave, Urmila Devi,
Baby Indira, Shirazi A. M., Rafik, Ansari,
Mishra, Sadik, Vasant Pahelwan and others.
(1)
KUL DIPAK
(2)
JUNGLE KA JAVAN
(3)
CHABUK WALI
(4)
VEER BALA
(5)
BHEDI TRISHUL
(6)
CYCLE WALI
RAN SANGRAM
Director: A. M. Khan
Starring:
Miss Kantakumari, Chandrakant B.A., S. Alam,
Miss Amina, Anvaribai, Balabhai, Fazal, Ansari,
Medi Raza, Kaul, Shahzadi and Haroon.
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Sardar Chandulal Shah Hits Out !
Advocates Drastic Measures Against Anti-Indian Pictures
trie fou\na£tit4 to tfame the, Ration
Appeaid to
"We would willingly shake hands
with the foreign producers as
friends on the same plane of cul-
iture and understanding. But we
jare certainly not prepared to to-
lerate any insults wantonly flung
at our prestige and nationalism
as has unfortunately been done
in pictures like "The Charge of
the Light Brigade", "Bengal Lan-
cers" and "The Drum".
"The present awakening
amongst our people and their
grim struggle for nationalism
carried out in a way entirely dif-
ferent from methods of coercion
practised hitherto, has made India
good news for exploitation all over
the world. But I cannot for the
frorld of me understand how a
riendly people like the Americans
toop so much for their commer-
:ial instincts as to trade in a na-
;ion's prestige and revile its pat-
•iotism, merely to earn some dol-
ars. Why should an industrialized
irt like film production be made a
land-maid of imperialism and po-
tties? Isn't it wise to keep poli-
ces out of production?
"I should like to warn the alien
)roducers that those old days
vhen India took everything lying
lown are now gone. If the fo-
reigners have not yet realized the
;xact temper in which our nation
s at present, they will soon do so
vhen the big yard-stick comes out.
Dreadful diseases need drastic re-
nedies and one day India will
lave to use time-worn methods for
)ld ills and that day it will be per-
laps too late to claim our friend-
hip", said Sardar Chandulal J.
5hah. Chairman of the Reception
Committee of the Indian Motion
'icture Congress and Vice Presi-
dent of the Indian Motion Picture
'roducers' Association in a press
nterview.
Filmindia's Services Appreciated
"I welcome the lead given oy
"Filmindia" in the matter of these
anti-Indian pictures and appre-
ciate its success in securing a ban
on "The Drum", in different pro-
vinces. Some of the daily papers
who supported this agitation also
deserve our thanks. But I do not
approve of half-hearted and weak-
kneed decisions by certain provm-
1
Sardar Chandulal Shah, Chairman
of the Reception Committee,
Indian Motion Picture Congress.
ces in case of "The Drum". In the
matter of national prestige there
should not be any communal or
party aspect and there should not
be any half-measures. The pic-
tures that offend our national
pride should straightway be ban-
ned without the slightest consi-
deration for the feelings of those
producers who choose to offend
our country without any provoca-
tion.
"Every Indian must put down his
head in shame when he realizes
that this dirty propaganda against
us is being shamelessly broadcast
in other parts of the world and
we are unable to stop it.
'•From the recent issue of "Film-
india". I understand that another
scandalously anti-Indian picture
in "Gunga Din" will be soon out on
the screen. If this picture is real-
ly bad, the most drastic measures
must be taken to stop the release
of such pictures not only in India
but also in other parts of the
world.
Ultimatum to the Foreign
Producers
"If these foreign producers are
given an ultimatum to withdraw
such pictures from the world mar-
kets, on the pain of all their pic-
tures being banned in our coun-
try, they wiil csme to their senses.
Spain did it when Paramount
threatened to release "The Devilish
Woman", portraying the character
of a Spanish woman in loose co-
lours with the result that the ne-
gative of the picture had to be
burnt in the presence of Spanish
authorities.
"Even a small State like Bulga-
ria delivered an ultimatum to the
American producers in case or
"Paris Honeymoon". "Drop Bulga-
ria out of your pictures or we
throw your pictures put of Bulga-
ria" was the ultimatum given by
the Bulgarian Minister. The pro-
ducer had to do so as he was an-
xious to keep the Bulgarian mar-
ket. • :
"Can't we also do so when the
different governments under the
present semblance of Provincial
autonomy enjoy the power to de-
liver the ultimatum. No producer
in the world, however big, can af-
ford to lose the entire India as a
market.
"T welcome the action recent-'
ly taken by the President of the
(Contniued on page 64)
23
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PRE TAILED INFORMATION ASK FOR OUR 44 PAGES ILLUSTRATED CATALOGUE. ^
/ice President of the Motion Picture
Society Slashes Foreign Producers
for Anti-Indian Films.
lai XaPiib &umi£at 6on^iaMatei 111 ill India 3o4 "®Aum" Agitation
"I have read the article on that
:andalously anti-Indian picture
3unga Din" appearing in the
ebruary issue of "filmindia" with
jry grave concern and in my opi-
nion every possible effort should
? made by individuals and by in-
.itutions to counter-act such an
oominable anti-Indian propagan-
a launched with fiendish consist-
icy by the foreign producers",
lid Rai Saheb Chuni Lall, Vice
resident of the Motion Picture
ociety of India In a recent press
iterview
"In these days of grim national-
,'m and with our country shoul-
ering a great constitutional res-
onsibility, such dirty propaganda
1 India and other countries Is
ound to affect all the future
rospects of our country sitting In
iual company with other nations
f the world.
"It is time for all of us to rise
ke one man to express our utter
isgust at such insidious attempts
nd to voice with all the emphasis
't our command the intensity of
Jur righteous indignation and our
rim determination to stamp out
lis propaganda with a firm hand.
"Indian culture, Indian civiliza-
on and India's immortal tradl-
ons have been abused time and
gain by several foreign adventur-
rs who enjoy our hospitality un-
er the cloak of friendship but do
ot forget to exploit every oppor-
mity to scandalize a country that
ives them quarter and good treat-
lent. in a way it is all the fault
f our people who did not take
ny stern action after pictures like
India Speaks", "The Lives of a
engal Lancer" etc., which were
shibited in our country and else-
here. It is necessary, and It can
o longer be delayed that the
Rai Saheb Chuni Lall, Vice-Presi-
dent of the Motion Picture Society
of India.
country as a whole, should take
serious notice of this objectionable
policy of the foreign producers who
seem to revel in their efforts to
paint India as black as they could.
Result of Filmindia's Agitation
"Undoubtedly, it was due to the
national awakening evident
throughout the country during the
course of the last few years that
the public could put up such a bold
front against the picture "The
Drum" and it is really gratifying
to see that as a result of the agi-
tation against "The Drum",
launched and carried out with re-
markable tenacity by "Filmindia".
the voice of the people made it-
self felt and the "Drum" was
either banned in practically every
territory or shown after cutting oft
a substantial slice of 1500 feet.
"The Drum" agitation proved an
eye-opener to the foreign produ-
cers and they should now realise
that India will not take any insults
lying down in future.
"It is my considered opinion
that India should present a unit-
ed front to stamp out this insidi-
ous propaganda in our country
and in other parts of the world
either by way of firm retaliation
or by sympathetic approach to the
authorities in power.
"I congratulate the Hon. Mr. K.
M. Munshi, the Home Minister to
the Government of Bombay on his
bold initiative against the picture
"The Drum" and I hope he will
once again give a lead in the mat-
ter of "Gunga Din". As one who
Is vitally interested in the welfare
of the motion picture industry in
India, I can say that any move or
any proposal that is launched to
counteract, and to enforce reta-
liatory measures against such
dirty propaganda through films,
will have my whole-hearted and
solid support.
"It is the height of ingratitude
on the part of the Americans to
go out of their way to scandalise
the country which has supported
their own film industry for over 25
years.
"Where is the sense in insulting
a self-respecting nation and at the
same time asking for sympathy
and co-operation in commercial re-
lations?"
25
B H R B I
BOMBAY TALKIES'
£atedt RelexUc
continues its successful run throughout the
length and breadth of the Country
with
UNPRECEDENTED RECORD
Lahore
Amritsar
Ludhiana
Benares
Nagpur
Jalgaon
Surat
6th Week
5th
3rd
fth
3rd
2nd
3rd
Delhi
Lucknow
Allahabad
Karachi
Indore
Ahmedabad
Poona
SUCH
IS
the I
of
ure
BHABI
SCREENLAND'S SWEETEST ROMANCE
regailing audiences at
BOMBAY
12TH WEEI\
Timings '.-
DAILY THREE SHOWS
4-30, 7-15, O- IO P. M.
Sat., Sun. 6- Holidays
Mirinee at 1-45 P. M.
AT
6th Week
9th ,,
7th „
6th „
6th „
6th ,.
8th
"The Rendezvous of the Elite'
I S O V V
tyotes Gind Tleivs
lillllillllia 's" 9nten6iu-e Agitation againdi
AtiU-9.ndLati JHctubeA.
"Boycott Foreign Pictures" Says the President.
The Drum " Banned and Rebanned in Nagpur —
N. J. Naidu Owes the Nation an Apology —
RIDPUR FILM CONFERENCE
)n the 29th and 30th January
9, the First Film Conference of
ngal was held at Faridpur with
Anadinath Bose presiding. The
nference was opened by Mr. B.
Sircar. Managing Director of
: New Theatres Ltd., and was
ended by delegates from all
r the province representing
ferent interests in the Indian
n industry.
The success of the Conference
s due to the untiring efforts of
Devaki Bose and Mr. Jagadish
akrabarthy, the two joint seere-
ies.
teferring to the foreign doml-
ion Mr. Anadinath Bose in his
>rt, but brilliant presidential
Iress said, "In Bengal, most of
businesses are controlled by
foreigners. The cinema bust-
s is one of the few on which
Indian grip is still stronger,
t will this grip stand the strug-
with the foreigners who make
chines, manufacture films and
mlcals, produce pictures and
Id palaces to carry away ship
ds of gold from this country
ry year? I say "No," unless we
te, form Associations and So-
;ies in every province, make
m strong enough to get mea-
es passed, to protect, encourage
[1 stimulate the industry."
TI-INDIAN PICTURES
.ddressing an appeal to the
e-going public, the President
1, "Another burning question of
day is how to stop the vilifl-
lon of India all over the world
ough films. Bigger brains are
fking to put, a, stop to that, but
I tell you, the remedy is in your
control. If you refuse to see any
picture of the producers who are
producing such obnoxious films,
the desired result will be achieved
sooner than by appealing or mak-
ing representation to the Govern-
ment."
A resolution passed by the Con-
ference reads as follows:— "This
Mr. Ram Bagai, filmindia's Holly-
wood correspondent and repre-
sentative.
Conference records its strong dis-
approval of the policy and action
of certain producers in foreign
countries, who deliberately and
persistently vilify India through
their films inspite of numerous
protests from Indians in India and
abroad. The Conference requests
the Central Government as well as
the Provincial Government to
take all possible steps to put a
stop to this practice by banning
such pictures In India and ap-
praising of the Government of the
producing country of its serious
effects and urges on the Distribu-
tors, Exhibitors and the cinema
going public to organise an effec-
tive campaign for boycotting films
of such producers." Bravo Ben-
gal!
TRIBUTE TO THE FATHER! !
The Bengal Motion Picture Con-
ference passed another resolution:
"That this Conference pays its
sincere tribute to the founder of
the motion picture industry Mr.
Dadasaheb Phalke who was the
first person to produce India's first
full length picture."
The Faridpur Conference has
taken the industry a step nearer
to its ultimate goal. Thanks to
Messrs. Devaki Bose, B. N. Sircar,
P. C. Barua and all others who
made the Conference such a huge
success.
PHALKE PURSE FUND
COMMITTEE
Consequent upon the lead given
by "Filmindia", prominent mem-
bers of the Indian film industry
have formed a committee for the
Phalke Purse Fund. The person-
nel of the Committee is as follows:
Sardar Chandulal Shah, (Chair
man), Mr. V. Shantaram and Mr.
E. H. Mamooji (Vice Chairmen),
Mr. Baburao K. Pai (Hony. Secre-
tary and Treasurer) and Messrs.
Baburao Pendharkar, Jayantilal
Thakore, M. B. Billimoria, M. A.
Fazalbhoy, Dr. A. M. Patel, Chi-
manlal B. Desai, L. Alopi Pershad,
L. Jagat Narain, H. N. S. Subba
Rao, Khan Bahadur G. H. Dossani
as the members of the Committee.
The office of the Committee will
be: Neelam Mansions, Laihington
Road, Bombay No. 4, and the
Hony. Secretary will be in charge
of all the executive work.
A substantial purse will be pre-
sented to Mr. D. G. Phalke at the
time of the Silver Jubilee Celebra-
tions of the industry.
"THE DRUM" BANNED &
REBANNED
In a letter to the Editor Mr. W.
R. Warhade, B.Sc, LL.B.. Advo-
cate, Nagpur City, writes;-^.
27
Maich 1929
F I L M I X D 1
"I have to thank >ou for the
agitation that you carried through
• Film India" against the anti-na-
tional film "Drum '. It had come
to Nagpur in the last month. The
District Magistrate was pleased to
accord sanction for its exhibition
at the Regent Talkies. Xagpur.
When we saw the trailer, we felt
that the agitation against "Drum"
was justified. After a little agita-
tion the permission was with-
drawn and the film could not be
exhibited at Xagpur.
-This offended the management
of the Regent Talkies here and
they managed to obtain permis-
sion for its exhibition to selected
sentries of the city and they tried
to elicit opinion in their favour.
When I witnessed the whole of
the film as was permissible, I was
assured that the film was oppres-
sive to our feelings and was in
direct conflict to the high cherish-
ed ideals of Mother India. Criti-
cism that was levelled against
"Drum'' through the columns of
"Film India" was true and justi-
fied to its very letter.
• Personally I must thank you
for it helped me a lot to have the
correct appreciation of the film
and write accordingly to the Dis-
trict Magistrate. I am glad to pen
this letter for the permission
sought for. was neither granted
nor it seems likely that it will ever
be granted at least under the pre-
sent popular ministries".
This letter by a respectable and
responsible citizen of Xagpur
proves to be an eye-opener. It
shows too clearly the part played
by :he Indian exhibitor in helping
the foreigner to vilify India. The
proprietor of the "Regent Talkies"
is Mr. X. J. Xaidu. He has other
cinemas in the town called "The
Narsingh Talkies", "The Palace".
etc.. where he shows
Indian producers
"jefore they sup-
i a man, who would help
to the country Its
business had
f his way and try
D&.thy of others
" may run and
India | .-.ore?
Sardar Chandulal Shah after his
sensational and historic press ln-
ferview on anti-Indian films must
take up this matter before the pa-
nel of producers and condemn the
action of the exhibitor.
"Dreadful diseases need drastic
remedies" said the Sardar. Well
here is X. J. Xaidu suffering from
a dreadful disease. And now Sar-
dar. come out with the drastic re-
medy.
X. J. Xaidu owes the nation an
unconditional apology and his con-
science and dormant patriotism
must urge him to tender one with-
out delay. After all to err is hu-
man and old Xaidu might have
only erred. But let him say so.
It will be manly and patriotic to
do so.
NOW IX THE SAMF BOAT
The startling news of the month
is the legal separation between
Huns Pictures and Supreme Film
Distributors of Bombay. The Huns
people will not take any finance
for their productions in future
from Supreme.
Finance, it is reported, has now
been found in the family, as peo-
ple say that the partners of Pra-
bhat will in future finance all
Huns pictures, which will in turn
be distributed by the organization
of Famous Pictures.
This shoud have happened years
ago. Xevertheless. the new com-
bine is welcome even now.
Bravo. Baburao Pai! His part-
nership in Prabhat has begun too
well, seeing that affairs are being
fast consolidated on a more stable
basis and new friendships are be-
ing formed.
Supreme, particularly Sardar
Chandulal and Seth Chunilal. de-
serve congratulations on their
sportsmanlike attitude in releasing
Huns inspite of a long term con-
tract.
We wish the new combine a
huge success.
A PIOXEER DEPARTS
We regret to report the unfortu-
nate and premature death of Mr.
A. Xarayan. the well-known pio-
neer in the South Indian film
dustry on 18th February at 8 in t
morning, at his residence in Pa
Town in Madras. One of the m«
enterprising film pioneers of rece
times. Mr. Xarayan had expe
ence In exhibition, distribution a
production. He had travelled wic]
ly in Europe and America and ev
taken a fairly long training unc
Carl Laemmlle Sr. in Hollyww)
Some of the pictures which
produced are "Dharmapatni", "V3
wamitra", "'Srinivasa Kalyanarl
"Virata Parvam" etc.
South India has lost a plonej
while the Indian film industry ■
miss one of its main pillars.
WE MOVRX WITH PRABHAT
We regret to announce the sue
den death of Mr. Ram Vankudr
the younger brother of Mr.
Shantaram, on the 25th Januarj
1939 after a very short illnesj
Hardly out of his teens Mr. Rai
was the chief of the Prabhat la
boratory department and his p
mature death removes from
midst a skilled technician wh
excellent work had earned an
versal applause. Our sympat
go with Mr. Shantaram and
family.
28
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lirvqA llautc cue niauten!
|| JYOT" with D. BILLIMORI A
i es. chowpatty
Imbay
# C. P., C. /.:
BHARAT PICTURES. LTD.. AKOLA.
i 2
^ ^
THE QUEEN
SULOCHANA—
This Queen of the Indian Screen comes to the screen after a long time in "Prem-ki-
Jyot" the maiden production of Ruby Pictures at the Minerva Talkies, Bombay.
Round tlte Tc
own
MOTHER INDIA
Released Thru: India Cine Pic-
tues Ltd. — Story: Mohanlal G. Dave
Direction : Gun jal — Photography :
Rustom Irani — Recording: Jehan-
gir Munshi — Music: Ram GopaJ —
Cast: Sharifa, Pramilla, Sushila.
Suraiya, Laxmi, W. M. Khan.
Ashik Hussein and Gulam Maho-
med.— Released at: Royal Opera
House, Bombay. — Date of Release:
21st January 1939.
"The hand that rocks the cradlr
ruies the world." On this theme
the entire story is constructed and
It is pretty well done, maintain-
ing inteiest to the last minute.
Besides being entertaining the pic-
ture has a forceful instruction to
give to the world.
The Story: Sabita was a zamin-
dar's daughter. On the eve of her
marriage with Mahendra Mazum-
dar. her father is arrested for
printing forged notes. This crime
he had committed to enable him-
self to give a big dowry to his fu-
ture son-in-law. But he is found
out only a minute before the wed-
ding and the scandal scares away
Mahendra who refuses to marry
Sabita. In the confusion that
follows, Niranjan, a friend of Ma-
hendra. however volunteers to
marry Sabita. Years pass and
Sabita and Niranjan have a child
of their own. Sabita proves her-
self a model mother to her son and
a model wife to her husband who
is working on the railways. Ma-
hendra who has by then become
a big railway official visits Haripur
where Niranjan Is stationed for
duty. A little misunderstanding
on the part of Maya— Mahendra's
wife — causes the dismissal of Ni-
ranjan. Niranjan and Sabita now
struggle through starvation and
unemployment, till one day after a
frightful quarrel, Niranjan goes
away leaving Sabita and Nandku-
mar their little child, to the mercy
of the winds. Just at this time
Kailash a neighbour, thoroughly
fed up with his own wife, leaves his
daughter in the care of Sabita
and presents Sabita with a sewing
machine. This machine becomes
the sole support of Sabita's future
existence. Through years she
toils, till one day her son, Nand-
kumar. becomes a barrister and
Bindu, Kailash's daughter, be-
comes an attractive grown up
maiden. Here modernity steps In
and inspite of the wishes of his
mother, Nandkumar decides to
marry Nalini, the daughter of Ma-
hendra. Nalini is a heartless flirt
who demands physical mating be-
fore her wedding. But Nandkumar
The late Mr. Abdulla Fazalbhoy
due to whose generosity the Abdul-
la Fazalbhoy Technical Institute is
rendering such excellent service to
the industry.
refuses. On one of such outdoors
gambols, a cocoanut falls on the
head of Nandkumar and he loses
his sight. Nalini chucks over the
blind man, but Bindu in the guise
of a nurse steps in to nurse Nand-
kumar. Very soon five thousand
rupees are required to restore the
sight of Nandkumar with the ra-
dium treatment. Sabita the old
mother manages to get this mo-
ney from Mahendra, but is
soon arrested and sent to
gaol. There is a fine climax, In
which ^Nandkumar gets his eyes
back in the arms of Bindu, meets
his mother in jail and finds his
father also. Nalini commits a
murder and then kills herself.
Acting: Sharifa as Sabita, the
maiden, the wife and the mother
all at once gives a thrilling per-
formance making an indelible im-
pression on the mind. Through
numerous emotional situations sne
portrays her role with a superb
artistry that calls for big praise.
Sushila as Bindu is coy and come-
ly. She gives a great promise of
being a top liner some day
Gulam Mahomed as Mahendra
hasn't much to do, but in
a couple of scenes which he
gets to himself, he beats the others
hollow, w. M. Khan as Niranjan
did try to do something but his
frontier diction delivered throu-h
the teeth made soft words fee
hard. Pramila as Nalini proved
utterly unconvincing. Her ungain-
ly figure presented in a swimmin*
costume looked revolting on the
screen. This fact was particular-
ly signnlcant owing to the other-
wise elevating atmosphere of the
Picture. Suraiya as Maya the za-
rmndar's wife, has improved a
lot. She is more natural in her
work and speech and should prove
a good type In certain character
roles. Ashiq Hussein was good in
parts. As Nandkumar he sincere-
ly tried to do his best. Of course
he has his limitations.
Production: Well directed In
parts by Gunjal, the picture is
packed with situations which,
though they look incidental, have
a psychological significance. The
story which is clever, has helped
the director a lot. The cine-colour
process has not proved so satisfac-
tory, barring some stray shots
with accidental brilliance. The
Photography should have been
better. Same goes for the sound
which is at places carelessly re-
corded. Music and dialogues are
quite satisfactory.
Points of Appeal: Passing
through numerous pathetic se-
quences, the picture delivers a
beautiful message. laved through
and not merely acted, by Sharifa,
Mother India" has certainly
H°StPKntS °f "commendation
Th br°Ught Praise
he high and the low in the coun-
try. By all means, see it.
35
FILMINDI A
March 1939
SERVICE LTD.
Producers: Sagar Movietone— Di-
rection: C. M. Lunar— Recording:
Kaushik— Photography: Keki Mis-
try Dialogues : Rozdon & Zia Sar-
hady— Songs: Zia Sarhady & Pan-
dit Indra— Music: Anupam Gha-
tak— Settings: Roora Mistry— Cast:
Surendra, Maya, Bibbo, Yakub,
Bhudo, Sankatha eta— Released
af Imperial Cinema, Bombay-
Date of release: 21st January 1939.
There is a small kick of novelty
in this story. The title "Service
Ltd." is intended to frame unli-
mited service to the society, espe-
cially in affairs which are not
within the recognition of law.
Some interesting situations are
woven into the main idea of do-
ing something which the police of
the city cannot do, perhaps owing
to the limitations laid down by
man-made laws.
The Story: A young society girl
Shobhana Devi— who she was is
not explained— having inherited
big money and under the guard-
ianship of three social bugs, gets
an idea to serve society in a wa*
not easily acceptable to others.
With the help of her lover and
guardian Anil, she establishes an
office called "Service Ltd." and
soon attracts crime cases for solu-
tion. The institution flourishes,
inspite of the law looking at it
with a cock-eye, and Shobhana
Devi handles some mysterious
cases with cleverness. Then Jag-
mohan an adventurer steps in with
his machinery for printing forg-
ed notes and his talent for crime.
Things brighten up through a
series of exciting episodes, till
Jagmohan is safely clapped in
jail and Shobhana surrenders
herself into the arms of Anil the
young bar-at-law. It is in short
a crime picture with the too ob-
vious cloak of entertainment.'
Acting: Yakub as Jagmohan
the villain of the piece has given
a convincing performance. In
fact, Yakub fact being typed
in such roles. Incidentally Ya-
kub's work, eaclly stands out as
the best. Maya as Shobhana
has continuous accps, but she
36
does not acquit her responsibility
creditably. There are periods of
half-hearted and nervous work,
which is strange, considering that
Maya has by now got pretty good
experience in film work. Maya's
singing was far from pleasing. A
fewer songs would be a wiser
plan in future. Surendra has not
improved. He has rather gone
back a bit. Acting is not his
forte, but people look up to him
for good music, which Surendra
did not give except in song No. 7.
Surendra should not be asked to
sing in a higher note as he
breaks down and departs from
the harmony of notes. The in-
dulgence of the producers is
alone responsible for the inclu-
sion of Bibbo in all their pic-
tures. Why she is put in, will
always remain a mystery. Even
in the present picture, she is
hardly required. Her music can
hardly be called any music. Her
appearance is an "eyefull". It is
a pity that the producers do not
seem to realise that the inclusion
of an unsuitable artiste weakens
the story and makes its chances
of suocess more slender. Bibbo's
performance as iLady Sulochana
was not only unnecessary but
proved an eyesore. Bibbo's
amorous interludes with Yakub
were the most revolting part of
the whole show. One wonders
how Sagar with its clean tradi-
tions hitherto has stooped to such
depths as to add a stink to an
otherwise good entertainment.
Bibbo might prove a good artiste
for motherly roles, but to ask her
to play amorous, lusty interludes
is to deny to her the privilege of
doing some really sensible work.
Sankatha as the Commissioner
of Police showed an improve-
ment in his performance. He was
more natural than ever before
and if he maintains his present
progress, he will soon become a
really good artiste. Bhudo Ad-
vani did excite a couple of good
laughs. Harish, I am afraid, will
lor sometime, remain an utterly
"raw one" and what chance has
the man got to improve if he is
cast merely for singing a duet
with Kalyani who is "all teeth"
on the screen.
Production: With better ima-
gination, the screen play could
have become really entertaining.
The novelty of an idea seems to
have swallowed up the imagina-
tion and the intelligence of the
screen writer. The direction is
orthodox and hardly shows anv
enterprise. The photography is
quite good and the sound is satis-
factory. The dialogues are quite
nice. The music is common place
and betrays no enterprise or ori-
ginality. It is much below the
usual Sagar standard. In song
composition a study of phonetics
is most essential. In song No. 2!
the word "Bhiksha" is sungl
"long" contrary to jits "short"
construction with the result thatJ
it jars on the ears. The songi
v/riter should himself have a mu-
sical ear. The compositions of j
songs Nos. 7 and 9 however must
be called intelligent and praise-
worthy. Incidentally, they are
written by the famous song wri-
ter Pandit Indra. The last but
one line in song No. 9 is certainly
thought-provoking. The set-
tings in the picture are rather
attractive and so are the cos-
tumes. The contents of the cos-
tumes however, leave much to be
desired.
Points of Appeal: The picture
has some entertainment particu-
larly in its light episodes. Shots
suggestive of kissing may appeal
to the lower classes.
BAZIGAR
Producers: Ran jit Movietone— Di- I
rectio*n: Manibhai Vyas — Audio- i
graphy: Thakorbhai Patel— Cine- ! 1
matography: Sazu Naik— Hindi 1
Version: Santoshi— Music: Jnan 1
Dutt— Cast: Trilok, Charlie, Ila- |
devi, Khatoon, Anis, etc.— Releas- J
ed at: West End Talkies, Bombay 1
—Date of release: 21st January I
1939.
The story is written with a phi- 1 1
losophical ideal in view and the
conception of things could be call- 1
ed rather clever. Only if the
treatment had been less imagi-j
native and more realistic the I
(Continued on page 62)
ICaiaka Cjoes Wed I
BY: KHWAJA AHMED ABBAS
'Film Critic of the "Bombay Chronicle")
"But every P. & O. liner brings
more and more of those who like me
stepped out of the smugness of our
homes to be battered about in our
effort to acquire an English educa-
tion. It is the contrast that is too
much for us. We present a pathe-
tic picture of completely helpless
men who know little about the
world and less about life....
"I find myself drifting away from
the thought and opinion that domi-
nate my country. I object to being
judged by their standards and I
have little respect for their concep-
tion of morals. ..."
— D. F. Karaka in "I Go West".
"You will nearly always find
when a literary man. or a dramatic
critic, or some other peculiarly in-
telligent person, launches into a vio-
lent attack on films, that he has gone
into some picture house on chance
and had bad luck with his pro-
gramme. His argument will be that
it just proves how bad pictures real-
ly are — but actually it proves how
little he knows about them."
C. A. Lejeune.
"Last week I saw 'Adhikar'. It
is the second Indian picture I have
seen. . . . I confess that the vernacu-
lars are not my strong point."
D. F. Karaka in "filmindia".
Mr. D. F. Karaka is a colleague
and friend of mine. I believe I
could call him "Dossoo" and get
away with it. I have great regard
for his literary ability and was per-
haps the first person in India to
review at length his brilliant book,
"I Go West". I mention these facts
not by way of a hypocritical apo-
logy but to warn those readers
who may be tempted to miscon-
strue the purpose of this article.
As for Mr. Karaka himself he has
been long enough in journalism
not to resent this controversy,
which he will readily concede, is
wholly on an impersonal plane.
Indeed I would not have under-
taken to reply to Mr. Karaka's "I
Regret to Say" ("filmindia", Feb-
ruary!, if I did not see in it more
than his personal views. While
reviewing "I Go West" and com-
mending its courageous exposition
of the view-point of modern youth
I had called it "the portrait of a
generation". Now I may use the
same expression for his article. It
is the echo of the arguments
against Indian film that I have
heard again and again from many
of my very close friends. The words
from "I Go West" and "I Regret
to Say" that I have quoted at the
top of the article are not meant to
take advantage of Mr. Karaka's
sincere self-analysis which I great-
ly admire but to place before the
readers (as Exhibit A!) the psy-
chological and intellectual back-
ground of his attack on "Adhikar".
While replying to Mr. Karaka I am
addressing a whole generation — all
those Europe-returned intellec-
tuals who do not go to see Indian
films.
THAT HANDBOOK ON
DIRECTION
From direction to the sets, he
finds nothing good in "Adhikar"
at all. Even though he has read
Lejeune and seen nearly every pic-
ture that has come out of the "big
houses" (?) of Hollywood and Eng-
land (surely a record as each of
the three biggest Hollywood stu-
dios produce about 200 per year!),
I regret to say Mr. Karaka is hard-
ly competent to judge the techni-
cal aspects of a film. No wonder
he makes amusing howlers. He
objects to the "wandering came-
ra", not knowing that it has been
employed by some of the best
Movie Directors and cameramen
including Rene Claire and the left-
wing Russian technicians. Accord-
ing to Mr. Karaka, "when a man
or woman is singing a song, it is
his or her face or expression that
Mr. P. C. Barua whose "Adhikar"
woke up two critics and with what
result!
is shown not the walls and the
ceiling and the rest of the set." I
will advise him to watch closely
the next "musical" he sees. Va-
riety of cuts are essential for a
song sequence and even the most
beautiful singer will appear boring
if his or her face is kept projected
on the screen for the full length
of the song. Mr. Karaka had bet-
ter study himself that handbook
on the elements of direction which
he wanted to give to Mr. Barua!
Mr. Karaka does not like "Adhi-
kar". I don't blame him. Every
one is eligible to indulge in his
individual taste. Personally
while I have great regard for
Barua as a Director I do not agree
with his social philosophy which
is too vague and Tagorean for my
liking. His attitude to life is too
aristocratic, too individualistic
while I am a socialist. Even at
the risk of appearing to weaken
my argument I must say that I
don't regard "Adhikar" as the best
Indian film. Indeed, in my opi-
nion, it is not even Barua's best
film. But, then, it is purely my
personal opinion which is often
liable to vary from the popular
view. For instance, I definitely did
not like "Camille" even though the
whole world was raving mad over
it. Everyone in "Society" said,
"Oh, how sweet, my dear", simply
because by using the slogan "Ro-
bert Taylor Loves Garbo" the
M.G.M. publicity men had convinc-
ed them that the mere fact that
the world's most handsome (but
37
•k Hansa
Wadkar
a new-comer to
Bombay Talkies
A Smiling Beauty
with
A Golden Voice
from
Mah
araslit ra
Rama
Shukul
The Youth from U.P.
who
as "Anupam"
L in
B H A B I
has been acclaimed
as
a first-rate Artiste
ATTAIN STARDOM IN
nnv-iiEEunn
from (he brilliant pen of
SARADINDU BANNERJEE
The Author of "BHABI"
V. H. Desai
You will remember
his 'Matlab Yeh ke'
in Bhabi
Supported by
A
Y
P. F. Pithawala
Needs no
introduction
to you
Mumtaz Ali and Saroj Borkar
in charming Dance -Duets
ALL INDIA PREMIER!
to follow
BHABI'S withdrawal
to
TALKIES
Rai Mohan
Yet another new-comer
to Bombay Talkies...
Destin for a brilliant
r o x y
"The Rendezvous of the Elite'
career
March 1939
FILM INDIA
hopelessly incompetent) actor was
starred opposite the world's most
competent (though plain looking)
film actress was somehow an
epoch-making event. I disliked
"Camille" because it was boring
and because I prefer to see cour-
tesans behaving like courtesans
and not like imitation Madonnas.
But, to return to "Adhikar", I do
regard it as a good film, in no way
inferior to many of the "hits"
that have recently come out of
the "big houses" of Hollywood.
Even if Mr. Karaka did not like
the film, he should have at least
admitted that it is superbly pho-
tographed. Doesn't it prove, tech-
nically to be a great advance over
"The Vamp" which he saw many
years ago "somewhere on the Gir-
gaum Road".
THE "BURRA SAHIB"
ATTITUDE
But, no, Mr. Karaka was deter-
mined to dislike "Adhikar" and he
must be given credit for consist-
ency! Most of the things of which
he makes fun, however, reveal the
attitude of "completely helpless
men", who may know a lot about
the world but very little about In-
dia! Almost with the contemptu-
ous indifference of a 'burra sahib'
he admits that the 'vernaculars'
are not his strong point. I will not
quarrel with him over that though
I do wish he had read a little less
of Lejeune and a little more Hin-
dusthani. The point, however, is
that clearly Mr. Karaka did not
fully follow the dialogue and natu-
rally missed the point of the pic-
ture altogether. His approach was
purely visual. He saw sets with
chromium plated fittings and de-
cided that the sophisticated at-
mosphere is "against all the en-
vironment, upbringing, culture and
the life of the Indian people."
What he did not realize was that
that is exactly the point that the
Director tries to make out. Par-
donable artistic liberties and occa-
sional individual whims apart,
Barua has presented a successful
•exposure of the life of the idle
rich— their pride and their preju-
dices, their romantic preoccupa-
tions and emotional obsessions,
their futile luxuries, their pathetic
subservience to conventional mora-
lity. Mr. Karaka objects to "bal-
loons in a glass case" and thinks
you cannot find them in "any
ncuse of any rich man who can
anord to have the things which
the owner of the basement had".
I am really surprised. Mr. Kara-
ka's intimate acquaintance with
the Bombay "society" should have
proved to him long ago that even
much greater aesthetic monstrosi-
ties exist in the house of almost
any rich man. I have personally
seen steel-and-glass tables stand-
ing side by side with Louis XIV
settees, rare Chinese vases rubbing
shoulders with cheap Japanese
nick nacks, an exquisite bronze
Buddha under the shadow of the
framed photograph of an Ameri-
can chorus girl, obviously torn
from a fan magazine! Mr. Kara-
ka is quite right when he says that
"Social life of the type portrayed
ip. Adhikar is almost entirely ab-
sent in India. Not point zero zero
one per cent of three hundred and
odd million people ever live or
think like that." But, then, this
is what the Director was all the
time trying to say through the
character of Radha, the girl
brought up in slums, burning with
proletarian bitterness to the ex-
tent of being irrational and ex-
posing with devastating sarcasm
the hollow pretensions of the rich
and the mighty. "The Private
Life of Henry VIII" was not unre-
presentative of mediaeval England
simply because not point zero zero
zero zero one per cent of English-
men ever had seven wives! The
drabness and poverty of an average
Indian's life can be successfully
expressed on the screen only by
depicting the contrasting luxuries
of the idle rich.
Mr. Karaka obviously makes an
argument in favour of realism by
talking about the "three hundred
million odd people". And yet in
the next breath he complains "All
the women dressed the same whe-
ther it was morning, noon or
night." He forgets that for the
millions of Indian women, the sari
is the only dress for "morning,
noon or night". It is rather para-
doxical that at the same time he
says that "at no time did one
know in "Adhikar" whether it was
night or day." At least twice I
still remember to have noticed the
break of dawn being beautifully
depicted in the film while usually
lights burning in a room are re-
garded as sufficient to indicate
that it is night time! Like the
boards in old Shakespearean plays
announcing "This is a forest", shall
we now have sub-titles in films to
remind Mr. Karaka "This is day
time, please?" It is quite apparent
that having missed the vital con-
tent of the film through his not
following the dialogues (it is a
pity they were in the vernacular),
Mr. Karaka spent all his time
looking for minor flaws which are
not absent from even the best
films — Indian, English, or Ameri-
can— and magnifies them to no
purpose.
"DRIFTING AWAY'"
But the real reason for Mr. Ka-
raka's impatience with "Adhikar"
is his intellectual and emotional
aloofness from the Indian psycho-
logy— that 'drifting away from the
thought and opinion that domi-
nate my country' of which he him-
self speaks in his book. I don't
blame Mr. Karaka for this. His-
torical causes beyond his own con-
trol are responsible for a state of
affairs in our country when highly
educated young men know more
about Shakespeare than Kalidasa
and though they may be able per-
fectly to execute a Lambeth Walk
they are often found asking whe-
ther kathakali is a dance or a di-
sease !
They can talk intelligently
about the comparative merits of
Rudy Vallee and Bing Crosby but
have never heard of K. C. Dey,
Saigal or Kananbala. They are
amused by the crazy antics of
Marx Brothers but are unable to
appreciate Indian comedians as
the latter crack jokes in the "ver-
nacular"! (By the way Mr. Karaka
may describe Kapur's acting in
"Adhikar" as "a feeble attempt at
comedy" but I heard peals of
laughter at almost every word he
uttered).
THE TEA CUP EPISODE
As an illustration, take Mr. Ka-
raka's objection to what I might
39
FILMIND I A
March 1939
describe as the tea-cup episode in
'•Adhikar". Let me quote his exact
words: "I also know enough to say
that when a man says to a girl
that he loves her, her reply in a
picture is never, 'but send first at
least for a cup of tea'."
Now I maintain that (whatever
the reason may be) Mr. Karaka
completely misunderstood the sig-
nificance of this scene. In the
first place in this scene, the man
(Sudhiri never said to the girl
(Radha) that he loved her. In fact,
the girl herself, in her own crude,
unsophisticated way, had almost
blurted out that she loved him.
The words implied a beautifully
subtle but obvious declaration of
love. To which Sudhir who does
not love the girl calls for a further
elucidation of her words. By this
time the girl had obviously lost
her nerve and finding no response
from the other side, decided to let
the matter drop. She changes the
topic by suggesting a cup of tea.
It was one of the most beautifully-
written and competently directed
scenes. If only Mr. Karaka had
realized that the girl who had call-
ed for a cup of tea to hide her
embarrassment was an Indian
girl!
IRRATIONAL PREJUDICE
As I said before, Mr. Karaka's
views on "Adhikar" are represen-
tative of the attitude of most of
our Europe-returned young men
towards Indian films. Only a hide-
bound obscurantist would accuse
them of being unpatriotic. In poli-
tics, at least, many of them have
been making conscious efforts of
coming nearer to the ideals and
aspirations of the mass of Indians.
Some of them have even taken to
khaddar. But as regards Indian
films they continue to entertain a
prejudice which is as irrational as
the orthodoxy's disgust of every-
thing rev/ or Western. I don't
hem for not liking Indian
Jo one can quarrel with in-
dividual fas'e, ard no one knows
better than I do that many of our
films are Jacking !n technical and
artistic elegance. But I do accuse
them of mafrng cc effort whatso-
evei to undewtasa tie peculiar
problem*, cf tto fiir. industry In
40
India a id to discover any really
good Indian film. Mr. Karaka gets
a paper all the way from England
to read Lejeune's criticism of
Western films. Our general stand-
ard of film criticism may not have
yet reached that standard but has
he made the same effort to get
proper guidance to Indian films?
The first picture Mr. Karaka saw
was "The Vamp" and disillusioned
by it he did not see another for 6
or 7 years. It would be instructive
to know who recommended "The
Vamp" to him. It was no fault of
the Indian film industry that Mr.
Karaka should go and see a third
rate film like this "somewhere on
the Girgaum Road". Almost at
the same time were released some
really good pictures — to mention
only two — "Seeta" directed by De-
vaki Bose, one of the finest films
ever made in India or abroad,
which won recognition in the In-
ternational Film Exhibition at
Venice: and "Puran Bhakt." an-
other beautiful hundred per cent
Indian film. It is natural that Mr.
Karaka did not like "The Vamp"—
nor did I!— but it is unfair to pass
judgment on Indian films from
that experience. What would we
think of a critic who saw a film
like "Mr. Cindrella" and for that
reason refused to see any other
Western film including "Good
Earth" and "The Life of Emile
Zola"?
FOR EVERY TASTE
Mr. Karaka does not like "Adhi-
kar", because according to him, it
is "against all the environment,
upbringing, culture and the life of
the Indian people." Probably he
likes realism (though there Is ne-
ver any realism in the films of his
favourites, Garbo and Marx Bro-
thers!). Then he should see "Sav-
kari Pash", a realistic picture if
ever there was one. Ts it the im-
port of Western "sets" and atmos-
phere in "Adhikar" that he objects
to? Let him see "Vidyapati" or
"Amrit Manthan" or the great
masterpiece "Tukaram"? He Is im-
patient with "this conglomeration
of disjointed ideas and morals."
He would perhaps like a straight-
forward, candid attack on existing
society. What about "Unexpect-
ed" and "My Son", with as vital a
sociological content as "Dead End"
and "Mountain Justice". Does he
want to see first rate technique?
I recommend a Bombay Talkies
picture. Does he like music? Why
not see "Chandidas", "Devdas" and
"Street Singer"? These are pic-
tures for every taste.
I have written criticising the de-
fects in our films for the last five
years. But I have never forgotten
the social and economic back-
ground of the Indian film indus-
try. Moreover I try not to be over-
awed by everything that comes
out of Hollywood. I acknowledge
their technical superiority. They
have limitless resources, they have
far greater experience. In America
films are sixty years old. In India
we are only celebrating the Silver,
Jubilee. Nevertheless I refuse to
believe that from "The Vamp" to
"Adhikar" we have made no pro-,
gress. We definitely have.
COME BACK, KARAKA!
What we need is greater effort \
to maintain this progress. The in-
dustry needs Mr. Karaka and his]
generation of highly educated |
youths — as playwrights, scenarists, j
technicians, directors, even as cri-
tics. But they have to acquire an|
understanding of the Indian
"thought and opinion" as well asj
of the peculiar problems and limi-
tations of the Indian film indus-
try.
Those who have "gone West'
must try to come back. India needs!
them. India calls them.
the SOUL OF AN ARTISTE
In the 18th century, while Napolean thundered at
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Respirator Cushions are more comfortable than
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one or two days' test will prove the correctness of
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Special concession rates for Theatres. Bars, Lounges.
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GINNING A PRESSING FACTORIES.
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ITOLA
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DHOLERA
C. P.
NIMAR
Messrs. International Talkie Equipment Co.,
Roxy Chambers, New QueenTs Road,
B 0 M B A Y.4.
Dear Sirs,
2 8 NOV 1938
We have great pleasure to inform you that we are entirely-
satisfied with the picture as well as sound reproduction of tne
BAUER Double "Standard 5n projectors with the "DELUX" Panel type
amplifier a nd the "Hi-Lo-PHONIC" Combibat ion speakers supplied to
us for our Nishat Talkies, Bombay.
We are not writing this as novices because we were importers
and distributors of high class American & German sound reproducing
equipments in the infant stage of talkie industry in India and also
own other theatre fitted with other costliest equipment. We really
find that the BAUER sound reproduction is the best it has been our
pleasure to hear so far.
Wishing you all success,
INTERNATIONAL TALKIE EQUIPMENT Co.,
Roxy Chambers, New Queen's Road, Bombay
Sub - Agents :
SARASWATI STORES : MADRAS
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! Skabhai Rapr. for Slnd I
For AbooDa££e/ ^idulrehmin & Co*
FOR
this Reputation can Alone Guarantee Satisfaction to Every Exhibitor
PROJECTION DEPEND ON "CONRADTY" CARBON
In "Dushman" we meet two
old friends; Leela Desai and
Najmul Hussein (Najam).
This H. T. picture by Nitin
: carries a great mes-
szre for our p3c;;l3.
TELL US FRHNKliU:
(Mainly intended for the intelligent Readers)
Come on, readers, here is your chance to criticize us. We are giving below some ques-
tions and request you to answer them frankly and intelligently. All the replies will be very
carefully gone through and some of them will find a place in the Silver Jubilee Number of
"filmindia", provided these replies reach us before the 15th of March. Remember, that on
your opinion, will depend the excellence of the future issues. We are anxious to give what
the readers want, but they must tell us what they want.— (The Editor).
Q. 1. What do you think of the general get-up of "filmindia"?
Q. 2. What do you think of the pictorial or illustrated aspect of the
magazine? Do you like the colour plates?
Q. 3. What do you think of the writings and the journalistic standard
attained?
Q. 4. Which particular sections do you like and why?
Q. 5. Why do you buy "filmindia"?
Q. 6. How many friends of yours, or people in your family read your
copy?
Q. 7. Are people anxious to read "filmindia"? And why?
Q. 8. Do you approve of the intense propaganda carried on by "film-
india" against anti-Indian pictures? Are you aware of the fact
that "The Drum" was banned in several provinces solely due to
the agitation of "filmindia".
Q. 9. Do you frankly think that "filmindia" is easily the best film maga-
zine in India? And why?
Q. 10. In your travels, have you missed "filmindia" at any station where
there is some sort of a bookstall?
Q. 11. Do you feel that "filmindia" is doing splendid service to our film
industry in several ways?
Q. 12. Do you believe that "filmindia" has created more cinema fans in
the country?
Q. 13. What do you frankly think of "filmindia's" criticism on pictures
and other matters of the industry?
Q. 14. As a reader, what suggestions have you to offer to improve
"filmindia"?
And now mark your envelopes "Criticism" and post them to the Editor, "filmindia", 104,
Apollo Street, Fort, Bombay.
Heated
to the Women of India I
"DEVATA" Proves Every Woman a Qoddess
« D E V A T A
Direction: VINArAI\
55
( MARATHI)
Starring :
• BABURAO PENDHARKAR
• MEENAKSHI
• SALYI
A SUPREME RELEASE
WEST END
BOMBAY
TElili US FRHNKliU:
(Mainly intended for the intelligent Readers)
Come on, readers, here is your chance to criticize us. We are giving below some ques-
tions and request you to answer them frankly and intelligently. All the replies will be very
carefully gone through and some of them will find a place in the Silver Jubilee Number of
"filmindia", provided these replies reach us before the 15th of March. Remember, that on
your opinion, will depend the excellence of the future issues. We are anxious to give what
the readers want, but they must tell us what they want.— (The Editor).
Q. 1. What do you think of the general get-up of "filmindia"?
Q. 2. What do you think of the pictorial or illustrated aspect of the
magazine? Do you like the colour plates?
Q. 3. What do you think of the writings and the journalistic standard
attained?
Q. 4. Which particular sections do you like and why?
Q. 5. Why do you buy "filmindia"?
Q. 6. How many friends of yours, or people in your family read your
copy?
Q. 7. Are people anxious to read "filmindia"? And why?
Q. 8. Do you approve of the intense propaganda carried on by "film-
india" against anti-Indian pictures? Are you aware of the fact
that "The Drum" was banned in several provinces solely due to
the agitation of "filmindia".
Q. 9. Do you frankly think that "filmindia" is easily the best film maga-
zine in India? And why?
Q. 10. In your travels, have you missed "filmindia" at any station where
there is some sort of a bookstall?
Q. 11. Do you feel that "filmindia" is doing splendid service to our film
industry in several ways?
Q. 12. Do you believe that "filmindia" has created more cinema fans in
the country?
Q. 13. What do you frankly think of "filmindia's" criticism on pictures
and other matters of the industry?
Q. 14. As a reader, what suggestions have you to offer to improve
"filmindia"?
And now mark your envelopes "Criticism" and post them to the Editor, "filmindia", 104,
Apollo Street, Fort, Bombay.
Dedicated to the Women of India I
"DEVATA" Proves Every Woman a Qoddes*
<* D E V A T A *
Direction: VINAyAI\
( MARATHI)
Starring:
• BABURAO PENDHARKAR
• MEENAKSHI
• SALVI
A SUPREME RELEASE
WEST END
BOMBAY
Kicks and Kisses
Warning
"You are all the world to me,
girlie."
"Goodness! I'll have to reduce."
Teacher: "Willie, name two pri-
mary colors?"
Willie: "Stop and go".
• » *
Touchy
First Model: This is my birth-
day.
Second Model: How old. aren't
you?
« * *
In love and governments, too
much courtship is bad for the con-
stitution.
• * *
Girls never get anywhere until
they let themselves go.
• • *
In the game of love the girl who
won't stand for a little strenous
necking will never get to furs base!
• • *
The Proof!
Rich Guy: Certainly I love you.
Golddigger: Well, I guess I'll
have to take your wad for it.
• • *
She: "I am glad you like my nose
and mouth. I like your nose and
mouth, too."
He: "Then let's combine our
best features"
• • ¥
A girl is lost every time a boy
finds himself.
• • »
Stop
"Her face is just like a traffic
light."
"How's that?"
"Well, about the time you think
its' safe to go ahead, it turns red!"
» * *
It's amazing how a good, healthy
kiss can make a girl love sick.
• » *
"If a stenographer works for a
big capitalist, she's just apt to be
in the lap of luxury."
• * *
Cruel
"Jack says you treated him in
an offhand manner."
"Yeah, I did. I made him take
off his hand from my leg."
The Touch
He: "I can read you like a book."
She: "Huh! I'm not surprised —
after you've been using the Braille
system on me all evening!"
* • •
You can't hold a candle to a
girl who's dynamite.
• * *
If a wife should have quintu-
plets, her husband might get a
divorce on the grounds that she
was overbearing.
* * •
Weight Lifting
Blonde: Gracious! Am I muscle
bound !
Brunette: (going to meet date):
So am I. I'm bound for 180 pounds
of it.
* * *
Every year is a lap year for most
girls.
* • *
A matron is merely a lovely
young girl gone to waist.
» » •
Sour?
"I blame only myself. I never
should have gone riding with
somebody I'd just met."
"Heavens! I certainly thought
you'd be safe with him!"
"I was!"
* • •
A lot of modern wives spend
their time running up bills and
running down their husbands.
* * •
The trouble with second honey-
moons, is that they're usually over
in a few seconds.
* • •
Against Prohibition!
"Liquor doesn't add years to your
life."
"I know, lady, but it adds life
to your years!"
* * *
Two and three make five, but it
takes two and sex to make a little
one.
* • •
Girls who are easy going are
usually hard to get started.
The prodigal son usually returns
empty-handed, but when the pro-
digal daughter comes home it Is
usually with an armful.
■ • »
Some girls wear black garters in
memory of those who passed be-
yond.
» • •
There are lots of good reasons
why bachelors don't marry and if
you have a bachelor friend may
be he'll introduce you to one of
them.
Slow
She: "Can't you understand?
I'm giving you the cold shoulder!"
He: "Yeah, but I'll soon warm it
for you."
• • •
Up to sixteen a lad is a Boy
Scout, but after sixteen he becomes
a girl scout.
K.O. On Points
She 1: "Is it true that prize-
fighter you were out with last
night puts everyone he meets to
sleep in the first round?"
She 2: "Well, not exactly. I ma-
naged to stay awake most of the
evening."
• • •
The girl who drinks like a fish
shouldn't be surprised if her head
swims
• • - •
The best way to get a girl off
your mind is to get her on your
hands.
• * ♦
The trouble with night clubs is
that the tables are reserved and
the guests aren't.
80 Proof
The cosmetic clerk asked the
gorgeous blonde. "What kind of
lipstick do you want, waterproof?"
And the blonde snapped, "No, gin,
ginger_ale and whisky proof."
49
FILMINDIA
When a husband goes home late
at night to a modern wife, he has
to do some real yarn-spinning to
pull the wool over her eyes.
Journalist
She 1: "So Jack is the press
agent in every sense of the word?"
She 2: "Sure he's either
wanting to press me to his heart,
press me for a loan or else press
one of his suits for him.
. * •
Bare limbs often yield a harvest
of forbidden fruit.
. • •
Zoological
He: "Me proud beauty, are you
an animal lover?"
" She: "Listen! When I want the
beast in you come out. I'll tell
vou."
* * *
Suckers
"Now what makes you think
those are male mosquitos?"
"They can't leave my legs
alone."
It always proves
call a girl "dear".
expensive to
March 193S
The Blind
The chorine complained to her
producer: "Can I put something
else on? I can't see myself danc-
ing completely in the nude." And
the producer suggested "That's
easily fixed. Put your hands over
your eyes."
A Creeper
The boy in the darkened movie
whispered to his sweetie, "This
picture is making my flesh creep".
The girl snapped, "Okay, but why
does it always have to creep to-
wards my knee."
• * *
Many a love nest has been built
on no stronger foundation than a
cute little limb.
« * *
Love is blind, but there are
plenty of people willing to make
spectacles of themselves for it.
Geometry
A straight line is the shortest
distance between two points, which
is just additional proof that a girl
with curves will go a lot further.
* * »
A girl's face is her fortune, but
it's her leg she banks on.
Watch out when a strange gu;
says your face is familiar,
hands are liable to get the same
way.
* * *
Showmen!
Artiste: "Before trying for a job
in your new revue I want to find
out if I'll have to show much."
Producer: "Yeah? And before
giving you a trial, sister, I want to
find out if you'll have much to
show!"
A good way to burn a fellow up
is to warm up to him and then
cool off.
Your Rupee Buys More When You Buy 'SLA VI A'
Engines and 'SAMSON'
D
y na mos.
SJMSON "SLiVIA" (iterating Set
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50
First Indian Motion Picture Congress
LVER JUBILEE OF THE INDIAN FILM INDUSTRY
WILL BE HELD IN BOMBAY FROM APRIL 8TH TO 11TH
UNDER THE PRESIDENTSHIP OF
Mr. S. SatyarnurU
M. L. A. (Central)
CHAIRMAN OF THE RECEPTION COMMITTEE
^Air. Gliandutat ^j-. Skak.
The Indian Motion Picture Congress will press for more and better films, for more and better
Cinemas, for financial consideration for the industry, for protection from foreign competition
and other necessary steps to raise the level of Indian Films and make them more popular.
To achieve these objects, the co-operation of everyone in the
Industry and of the Cinema Loving Public is earnestly solicited.
EXHIBITION
ON A GRAND SCALE RELATING TO THE FILM INDUSTRY AND ALL ITS
ALLIED LINES WILL BE HELD IN CONNECTION WITH THE CONGRESS
A FEW STALLS WILL BE AVAILABLE FOR OTHER INDUSTRIES
ALSO
DELEGATE'S FEES FOR CONGRESS Rs. 10
VISITOR'S „ „ Rs. 3
For fall Particulars and Copy of Prospectus, writes
Y. A. FAZALBHOY,
K. S. HIRLEKER,
Jt. Hon. Secretaries.
160, TARDEO ROAD, BOMBAY-7
D. BILLIMORIA—
After a long time, this superb artiste once again meets old friends in '•Prem-ki-
Jyot" a Ruby Pictures Social now running at the Minerva Talkies, Bombay.
'Billy" revives old memories with an excellent performance with a popular team
led by Sulochana, the Queen of the Indian Screen.
xceiienl C^Pliolodrapliv Q^leeJs . . .
9Q ch \\ i (° I
. . . «_y jn \LJxcellent Camera .'
Prabhat Pictures are taken on the new
ASKANIA Ca mera
The ASKANIA Camera-man does not hold the shoulder camera in front of his face.
He carries the camera on his right shoulder. This constitutes the fundamental
difference between the ordinary hand camera and the ASKANIA shoulder camera.
Focusing magnifier
Tachometer
Button lor
lixing the
magnifier
Button for
changing over
Irom tinder to
film viewing
Window lor
Strap lor suppo
while tahing
Knob for moving Ihe camera
mechanism by hand
Follow Prabhat and
Buy Askania if ycu
would put quality
into your pictures —
A better Camera th"n
Askania has to be
built —
•
When International
Talkie Equipment sells
a product it is backed
by an international re-
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and reliability. In
India '' International "
gives it a further push
by reliable personal
service.
We are the Sole Agents for India, Burma and Ceylon for the world fe mous
ASKANIA Cine Cameras and accessories for 35 mm. Film.
TlOriie to US /a-'c/ay and we s/iaff give you fuff detaifs of i/iis wondet Gamera w/iicfi
ma£es any man a^ perfect Cameraman
iHE INTERNATIONAL TALKIE EQUIPMENT CO.,
OXY CHAMBERS ..... New Queen's Road BOMBAY.
"CONRaDTY" carbons are second to none
PRAKASH
is c
onsidered absolute leadership of
tlie field, in the Production of
THRILLERS!
On the trail of "Mr. X*
@omes Hero No. 1
3)i,tc(or: Balwant Bhatt
Cast: Jay ant, Gulab, Umakant, Shirin, Laloobhai etc:
Running, at: SUPER CINEMA
For Bookings and Provincial Rights:
EVERGREEN PICTURES, 15, Queens Kd. BcmbouA
miss qulab
jrora F JRL
comes
Three Great Picture!
(1) The Duke and The Dancer
Thrilling romance of Napoleon's Son.
starring: Lilian Harvey.
(2) Her Home Coming
An exiled Daughter's Adventures.
Starring: Zarah Leander (Greta Garbo of Germany)
(3) History of World Crisis
Monopolist for India Burma and Ceylon.
THE CONTINENTAL PICTURES,
34, The Mall, Lahore
Bombay Madras Agents;
S. L. SEMPLE & CO.
Tinwala Buildint), Bombay No. It.
Wanted Agents for
Bengal and Burmah.
Books of the Month
PHOTO KINKS
Published by: Huddle Publishing
Co., Minneapolis — Minn.) (63
pages — Price 25 cents each).
Published in four parts, these
>ocket size booklets supply a long
elt want for ready reference
>ooks, which do not beat about the
push unnecessarily, but come
traight to the point and solve the
lifRculty. The word "kink" means
. knot and that is what these in-
aluable little books go about
traightening.
The first part deals with Enlarg-
ing, Ferrotyping, Lens Care, De-
eloping and Printing, Focusing.
Ihadings & Shadows, Composition,
'rick Effects.
The Second Part deals with Pho-
|o Colouring, Paper speeds, Port-
ait Types, Enlarging Aids, Dark-
iioom Methods, Exhibition Prints,
j'hemical Aids, Picture Taking
ads.
The Third Part deals with Group
'hoto Aids, Cloud Pictures, For-
mulas, Portraits, Camera Care,
inting, Lighting, Night Photogra-
phy, Snow Pictures, Filters and
The Fourth Part deals with Sil-
ouettes, Retouching, Lens Speed,
gadgets, Illumination, Negative
I'aults, Exposure, Special Processes,
lounting Aids and Fogged Nega-
tives.
I Each book contains over 300 use-
ul suggestions useful both to the
mateurs and the professionals.
IOVIE KINKS: (Published by the
Huddle Publishing Co., Minnea-
polis-Minn. Pages 64. 25 cents
each).
) In two parts, and in suitable
ocket editions, these two little
ooks are again as useful as the
hoto Kinks. The field however
I the movies. Everything, rather
uery little thing, not to mention
*ie big important things, can be
i)und in these superbly compiled
,ianuals. We cannot do better
nan by asking every one to buy
lem straightway and thus im-
prove their movie work.
MINI KINKS: 25 cents.
This book is about the minia-
ture camera, that fascinating lit-
tle thing which we find with so
many enthusiastic amateurs. Here-
in there are again numerous small
and big suggestions about the ca-
mera, colour, development, en-
larging films, filters, exposures,
lenses and paper.
Really a very useful book.
MOVIES FOR THE MILLION
(Published by: B. T. Batsford Ltd.,
15, North Audley St., London, W.
1). (120 pages — price sh. 7-6).
This book enjoys the unique pri-
vilege of a preface by Mr. Charles
Chaplin, the world famous produ-
cer and film actor. Queerly enough
Mr. Chaplin forgets to talk much
about the book itself, but submits
a plea, rather a weak one, for re-
moving the present-day restric-
tions of film censorship. The book,
however, inspite of Mr. Chaplin's
forgetfulness, is a really good one
though it is inclined to be biogra-
phically descriptive at places.
Written by a well known American
critic the book takes one into this
intimate business of making the
movies, with the author as the
well-studied guide to explain its
artistic and industrial aspects as
i;nd when necessary. The book is
a well told story of the film indus-
try from its beginning, through
different stages, till the present
state of accomplishment. Nearly
130 illustrations, some of them very
interesting, enhance the value of
the book. We recommend the book
to the general student.
COLOUR PHOTOGRAPHY FOR
BEGINNERS.
(Published by: British Periodicals
Ltd., (Fountain Press) 19, Cursi-
tor Street, London E.C. 4. Pages
136. Price sh. 3-6.)
As the author says, it is a book
for the beginner. But when it
comes to colour, most of these ex-
perienced photographers are no
better than mere beginners — be-
cause the field of colour is still
new. This is a very useful text
book which tells you in short al-
Mr. Surendra C. Desai M.A. (to
friends "Bulbulbhai") is the eldest
son of Seth Chimanlal B. Desai,
proprietor of Sagar Movietone. Mr.
Desai Jnr. is a popular executive in
charge of the production depart-
ment and in addition he has a say
in every other thing.
most everything about the colour
photography. A careful study of
the book by all interested in co-
lour photography as a hobby will
save them a lot of money in erra-
tic experiments. The different co-
lour processes are discussed in
detail, and their processing faults
are analysed from an expert
standpoint. Several coloured il-
lustrations attract the attention of
the reader.
A GUIDE TO CORRECT
EXPOSURE
(Published by: British Periodicals
Ltd. Fountain Press. 19, Cursi-
tor St., London, E.C. 4. Pages
68. Price sh. 1.)
A very useful handbook which
shows the amateur the way to the
correct exposure and incidentally
better photography. With the cor-
rect exposure, photography be-
comes an inexpensive luxury. This
invaluable little book helps both
hobby and art by discussing light-
ing and exposure in all possible
aspects.
HOW AND WHERE TO SELL
YOUR PHOTOGRAPHS
(Published by British Periodicals
Ltd. Fountain Press. 19, Cursi-
55
FILMINDIA
March 193ft
tor St., London, E.C. 4.
128. Price sh. 3-6.'
Pages
The title of the book tells its
story and we cannot tell you the
secret better. This is a very
handy book for the professional
photographer, and even to the ad-
vanced amateur. It tells you all
about photographs that sell, their
quality, their selling features and
their markets. And at the end of
it all there is a long list of people
who buy them and their addresses.
If you have some really good
photographs this book might pay
its price a hundred times over in
your case. You will know who
wants them, and how to sell them.
Provided you know where to buy
this book.
REICHS KINO ADDRESSBLTH
1938.
(Publishers: Lichtbildbuhne, Ver-
lag Dr. Buhrbanck & Co. K.G.
Berlin. Price RM. 30. Approxi-
mately Rs. 30).
This Directory which is the 16th
annual publication contains all
the information regarding organi-
zations, directly and indirectly
connected with the German film
industry, producers, distributors
and the list of manufacturers and
the machinery and other articles
required by the film industry. The
directory also includes information
concerning the film industry of
Austria and Sudeten Germany
which has bsen recently establish-
ed in the Reich. The book is
therefore a good reference work for
all those interested in the German
film industry and particularly to
those who are already in touch
with it or would like to establish
contact with the same in future.
MOTION PICTURES IN
EDUCATION.
(Published by: H. W. Wilson &
Co., 950, University Ave., Newi
York, N.Y. — Pages 472. Price
S2.50).
Sponsored by the American]
Council of Education this book is
a useful compendium of different]
books, articles and theses on tha
subject of visual education. The
numerous books, boiled down to
digest form, in this collection, form]
a valuable guidance to teachers and'
students interested in visual edu-
cation. The book is a painstaking
attempt and provides elaborate
contemporary thoughts on the
subject.
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56
Studio Close - Ups
KAN JIT MOVIETONE:
I "Sant Tulsidas" has been practi-
cally completed and is scheduled
lo be released at the Royal Opera
Mouse sometime in the month of
Ivpril. The cast includes well
Known stars like Vishnupant Pag-
lus, Vasanti, Leela Chitnis, Keshav-
lao Date and others and the pic-
lure which is produced in two
languages, Marathi and Hindi. Is
likely to create a new box-office
ecord all over the country.
I "The Kick" has been completed
by Director A. R. Kardar while
S'Good Luck" and "Achhoot" are
half way. The studio is busy tak-
ing up a Punjabi picture called
'Mirza Saheban" under the direc-
tion of Mr. D. N. Madhok. The
jartistes starring in this picture
ire Gulab and Iladevi. On the
sets we also find some T.elugu pie-
;ures under production and alto-
gether this studio has become a
seehive of feverish activity.
5AGAR MOVIETONE:
While "Service Ltd.", is still run-
ling at the Imperial Cinema in
Bombay, "Ladies Only" was opened
at the Pathe Cinema on the 16th
February in the presence of the
Hon. Mr. Morarji Desai. Revenue
Minister to the Government of
Bombay. A huge crowd greeted
this comedy of Sagar's and it
seems that the picture has settled
down for a long run.
At the studios, Director Virendra
Desai has half completed "Sadh-
na" a social picture while Director
Mehboob has practically complet-
ed "The Only Way". Director
Nandlal is busy shooting a social
picture the name of which still re-
mains a mystery.
BOMBAY TALKIES:
"Bhabi" took the box-offices by
storm wherever it was released all
over the country. According to the
publicity bulletins of the studio.
"Bhabi" is supposed to have at-
tained the high water mark In
collections among all Bombay Tal-
kies' pictures. The new social pic-
ture under production is called
"Nav Jeewan" and Hansa Wadker
who has hitherto been playing
small roles in other companies has
been given the golden opportunity
of leading in this picture under
excellent direction. The picture is
expected to come on the screen
sometime in the month of March.
KUBY PICTURES:
At a press show given of "Prem-
ki-Jyot", everyone welcomed the
return of Sulochana who, from her
excellent performance must still
be called the queen of the screen.
"Prem-ki-Jyot" has settled down
for a pretty good run at the Mi-
nerva Talkies, and in the mean-
while, Mr. D. Billimoria Is prepar-
ing to produce another social pic-
ture. The subject in hand is call-
ed "Dilruba" and it is a light co-
medy essentially intended for en-
tertainment.
MOHAN PICTURES:
"Midnight Mail" is booked for
the Imperial Cinema and it is ex-
pected to be released in the first
week of March. At Delhi where
it was released it was well receiv-
ed by all classes. "Ratna Lutari"
which has also been completed is
also booked for the Globe Talkies
in Bombay. Another thriller in
"Chashmawalli" under the direc-
tion of Mr. Safadar has gone into
shooting while "Jalta Jigar" a pic-
ture entrusted to Director A. M.
Khan is being shot in the interiors.
The company has also completed
"Bhedi Kumar" under the direc-
tion of Mr. Chunilal Parekh, while
Director Mohan Singh will be tak-
ing up a new subject in the first
week of March. Altogether a very
ambitious and crowded program-
me.
EVEREST PICTURES:
"Sitara" that splendid gypsy
story with its novel music is fast
nearing completion and will be
soon on the screen in the month
of April. Trial rushes have made
the producers very enthusiastic
with the result that offers are
pouring in for provincial rights. In
the lead we find some well known
stars like Mubarak, Khurshid, K.
W. Singh and Ratanbai. The fu-
ture programme of the company
has not yet been finally decided
upon but it is likely that they will
build a studio of their own.
BHAVNANI PRODUCTIONS:
"Son of Zambo", a jungle thriller
is last nearing completion. Mr.
Bhavnani himself is directing the
picture and in addition to Navin
Yagnik and Nayampally, we find
Bimla Kumari and Sunita Devi in
the cast. That ought to give the
picture a pretty good start when
it is released on the screen.
PRAKASH PICTURES:
Final touches are being given to
"Hero No. 1" by Director Balwant
Bhatt. It is a thriller with plenty
of comedy in it and is fixed to be
released at the Super Talkies in
Bombay. "Leather Face", proba-
bly a talkie version of the old 'si-
lent' produced by Prakash is an-
other Animal Thriller after the
fashion of "State Express". The
horse and the dog are both in the
picture with P. Jairaj thrown in
for company. The shooting of this
picture has come half way. "Kali-
ka Ekka", which incidentally
means. "Ace of Spades" is in the
hands of Shanti Dave and the
early preparations are being gone
through.
ROYAL FILM CIRCUIT:
"Brahmachari" has proved a
gold mine to these people who
bought that famous Huns picture.
Devi Films of Madras has already
bought the South Indian rights for
Rs. 15,251. while the Punjab rights
have gone out to Best Film Ex-
change at Rs. 45,000. Another offer
of Rs. 15,000 for the Bengal circuit
will soon be closed. V. R. Mehta
the enterprising proprietor of this
concern is likely to earn a little
over a lakh of rupees as nett earn-
ings as a result of his enterprise
in purchasing "Brahmachari" out-
right.
In keeping with their usual
practice, the Royal people have
again purchased the rights of
that successful cine-color picture
"Mother India", which is running
so well at the Royal Opera House,
Bombay. The price is rumoured to
be in the region of a lakh and fifty
thousand rupees. And now "Mo-
ther India" will really run.
59
FILMINDIA
March 19
REX PICTURES:
Mr. Keki Damania who is su-
pervising this concern is now giv-
ing the finishing touches to "Sec-
ret Five", a mystery thriller. In
the cast we find Vatsala Kumte-
kar, Jal Merchant and Maruti Pa-
helwan. The organization of this
company is, it is reported, under
the close co-operation of the Em-
pire Talkie Distributors. The se-
cond picture to be taken in hand
will be a comedy starring E. Billi-
moria, Ghory and Dixit, who were
a little while ago with the Ran jit
Movietone.
WADIA MOVIETONE:
"Jungle King" has been com-
pleted while "Vijay Kumar", and/
"Jai Swadesh" are well on way to-
wards completion.
MINERVA MOVIETONE:
"Pukar" a costume picture of
the times of the Moghuls has now
been completed by Mr. Sohrab
Mody. In the absence of authen-
tic studio news from the studio we
are not in a position to give any
reliable information about the
future programme.
KRISHIN MOVIETONE:
"Zamana" has been received ra-
ther too well wherever it was re-|
leased in and out of Bombay. The
Daryani Brothers are now busy
preparing the paper work of the
new social picture called "Hindu-
sthan Hamara". (
PARAMOUNT FILM CO.:
"Golden Gang" under the direc-
tion of Mr. Kikubhai Desai has
been practically completed, while
"Aflatoon Aurat" in the hands ot\<
Nanubhai Vakil is being shot in
the interiors. A Punjabi picture is
being shot in keeping with the
usual enterprise of Mr. Kikubhai
Desai.
POONA
SARASWATI CINETONE:
"It's True" is getting the final
finishing touches and will come
on the screen on the 2nd of March
at the Central Cinema in Bombay.
The picture has taken unusually
long time but it could not be
avoided as the theme undertaken
involved plenty of research and
study of detail. The anxiety of
the producers to present an auth-
entic atmosphere for this social
story can well be imagined from
the fact that scenes have been
shot in distant outdoors as Benares
and Allahabad.
"Bhagwa Zenda" is being simul-
taneously shot in the studios un-
der the direction of Nanasaheb
Sarpotdar and this Marathi pic-
ture will come to the screen im-
mediately in the wake of "It's
True".
PRABHAT FILM CO.:
Rehearsals of the new social pic-
ture undertaken by Director Shan-
taram have almost been completed
and the shooting will begin in the
first week of March. Mrs. Shan-
tabai Hublikar has been given the
lead in this picture and Mr. Shan-
taram expects the picture to be
another provocative entertainment
with a sound theme and sensible
instruction.
KOLHAPUR
HUNS PICTURES
The stupendous success of
"Brahmachari" has changed the
fortunes of Huns Pictures. To add
to this triumph has come "Deva-
ta" at the West End Talkies,
and it is drawing tremendously
big appreciative audiences. Un-
fortunately the picture happens to
be in Marathi and the whole of
India is robbed of the chance of
seeing a beautiful theme portray-
ed on the screen in Hindi. It will
be worthwhile for these producers
to produce a Hindi version of "De-
vata" as we feel that it will run
very well all over.
Two pictures are under produc-
tion at the studios; one is called
"Brandy-chi-Batli" in Marathi and
Hindi and the other is called "Su-
khacha Shodh". An unique event
took place the other day in Bom-
bay when Sardar Vallabhbhai
Patel agreed to be 'shot' in "Bran-
di-chi-Batli". He has delivered a
forcible oration on the advantages
of prohibition and the evils of
drinking. This lecture incidental-
ly will form the basic theme of
this social story.
CALCUTTA
NEW THEATRES:
"Dushman" was released
Bombay on the 24th simultan
ously at the Krishna Cinema ai
the Excelsior. At the st
dios, "Bar Didi" in Hindi a)
Bengali under the capable dire
tion of Amar Mullick has at la
been completed and is likely
come on the screen immediate
after "Dushman". "Snake Cha
mer" is being steadily shot by IV
Devaki Bose, and is expected to I \\
completed in the month of Apil
Nawab is reported to have given J L
wonderful performance in t| 1
Hindi version of this picture. "KB
palkundala" under the directii
of Phani Muzumdar is being sh
in the interiors.
FILM CORPORATION OF INDIA
Not a bit taken back by the fa
ure of "Asha", the studio has b
gun the shooting of "Rise". Sev
ral interior sequences have alrea
been taken and in the cast *
find Chhaya Devi, Devbala a:
others, who are expected to ta
the picture to success.
EAST INDIA FILM CO.:
This company has restarted
work after a long rest. "Daksh
yagna" in Telugu is being shot
the interiors under the directi
of Mr. Pulliah while another pi
ture called "Vara Vikriyam"
also being simultaneously taken
the same director.
RADHA FILM CO.:
"Janaka Nandini" a picture ta
Bengali has been released at t
Rupabani where it is reported
be drawing well. At the stud:ki>|
"Nara-Narayan" is being directJB
by Jyotish Banerjee.
I
SOUTH INDIA
VAUHINI PICTURES (Madras):
Director Reddy has almrt
finished "Vandemataram" a socl i
story with an elevating thenk
Pre-release publicity of this pit
60
irch 1939
FILM INDIA
re is quite intelligent and at-
ictive and the picture is expect-
to run well at all places in the
uth, especially in the Andhra
stricts. Miss Kanchanamala, is
Dorted to have given some excel-
lt songs with classic tunes and
ly supported by Mr. Nagiah and
ss Kalyani, "Vandemataram"
ould beat all previous records in
uth India.
LVIN FILMS (Palakol):
Mr. Niranjan Pal, late of Born-
y Talkies of Bombay is now as-
:iated with these producers who
■re producing "Amma" or "Home
ming" in the Aurora Studios in
.lcutta. This is a Telugu story
th a social theme. Thanks to
e untiring efforts of Mr. Soor-
m, the proprietor of this con-
rn, "Home Coming" has at last
en completed and is scheduled
be released in the city shortly.
iDHRA CINETONE,
(Vizagapatam) :
"Bhaktha Jayadev" directed by
Jren Bose is reported to be draw-
ing well at the Broadway Talkies
in Madras. The future programme
of the company is still kept a
secret.
ROYAL TALKIE DISTRIBUTORS
(Madras) :
"Sakku Bai" under the direc-
tion of Mr. Sunderrao Nadkarni is
now in the finishing stages. Miss
Aswathamma who is cast in the
leading role, is reported to have
excelled all her previous perform-
ances. "Sakku Bai" should prove
to be a rare musical of the year,
mightier than "Bilwamangal",
both in the box-office takings and
in quality of entertainment.
CENTRAL STUDIOS
(Coimbatore) :
"Rambha's Love" is at last ready
for release and ought to be on the
screen by the time this issue is in
your hand. Master Mahalingam
and Miss Santhanalakshmi are
now cast in another mythological
story under production.
MODERN THEATRES (Salem):
"Anandashram" will be their
next. The stunt queen of the
South is starring in this picture
with Mr. Rangachari and others.
What stunts are there in 'Anand
Ashram', let us wait and see!
PREMA FILMS (Madras):
"Matru Bhoomi" under the di-
rection of Mr. H. M. Reddy is en-
tirely ready and should be on the
screen sometime by the end of
this month.
THE SOUTH INDIAN UNITED
ARTISTES CORPN. (Bombay):
A new company has been form-
ed under the name of The South
Indian United Artistes Corpora-
tion in Bombay, for the produc-
tion of Tamil pictures. The first
subject which is intended to be a
social one and according to expec-
tations is likely to go into produc-
tion during the course of the next
month.
Ttco Ttlo>ie Cjijantic TYiabaw Productions
A) ABLAKI SAKTI
featuring : — Miss Kajjan, Khalil, Premlata,
Pearl, Laxmi, Mustafa,
Chunilal etc.
B) MERCHANT of VENICE
or Zalim Sodagar
Jeatuiing : — Jehanara Begum and Khalil.
FOR TERRITORIAL RIGHTS OF THE PICTURES AND FOR TALKIE SET:
Apply:— INDIA PICTURES LTD., ---- |78, Harrison Road, CALCUTTA
61
FILMINDIA
ROUND THE TOWN
(Continued from page 36)
picture would have become more
instructive a'nd entertaining.
The Story: The whole affair is
a struggle between good and evil
between contentment and greed,
between faith and heresy, and
between religion and reforma-
tion. It is one big clash between
virtue and sin. The names of the
characters such as: Shradhha.
Maya, Dharmanand etc. have
symbolic significance.
Dharmanand preaches a better
life, free from greed, contented,
virtuous etc. To which Satan in
the form of Bazigar takes objec-
tion and throws a challenge
which he ultimately loses.
The story passes through seve-
ral familiar tussles between good
and evil and reaches one grand
climax wherein in a storm, of
course a convenient one, the po-
wer of evil is at last destroyed
with a moral that when Religion
and Faith meet in harmony and
unity of purpose, evil is destroyed.
Quite a good yarn on the whole.
Acting: Charlie as Rasiklal a
street pedlar easily gives the best
performance. It is more or less
just slapstick work, but it is good
as long as it lasts and amply
serves its intended purpose of en-
tertainment. Trilok and Iladevi
are quite encouraging. Khatoon
as Shraddha had not much to do.
Others were not upto much.
Production: The picture shows
good enterprise in its technical
aspects. Sound and photography
are pretty good. The musical
side however is not so very en-
couraging. The dialogues are
well written and so are some of
the songs. The direction is ner-
vous at places.
Points of Appeal: There is some
good trick work which will ap-
peal to people who believe in il-
lusions. Charlie's slapstick per-
formance is certainly good enter-
tainment.
DEVATA (Marathi)
Producers: Huns Pictures — Story,
dialogues and Songs: V. S. Khan-
dekar — Direction: Vinayak — Photo-
graphy: Pandurang Naik — Record-
ing: Aluwalla — Music: Dada Chan-
dekar — Art Direction: Palnitkar —
Cast: Baburao Pendharkar, Indira
Wadkar, Meenakshi, Salvi, Damu-
anna Malwankar, Sardar and Baby
Vimal— Released at: West End
Talkies, Bombay — Date of Release:
11th February 1939.
"Woman is Divine" is the bur-
den of this tale. The story is beau-
tifully thrown in the midst of so-
E. Billimoria. We shall meet this
old favourite again in "Thunder"
a Rex picture.
cial usages to reach its ultimate
theme. In between, there is a pro-
vocative episode suffering a vivid
and intimate peep into the lives of
some pseudo swamis who trade on
the credulity of the society. The
picture conveys a piquant instruc-
tion while being subtly entertain-
ing
The Story: Ashok is a college
professor with ideals. Though
popular with everyone, his ideals
hardly find practical parallels in
life. His father Dasopant returns
to town after a long stay overseas
and driven by a craving to possess
March 1939
a little child of his own, marries
Sushila, inspite of his old age and
contrary to the ideals nursed by
his son. Sushila, young though she
is, accepts her fate merely as a :
martyr to enable her to give a 1
heme and to educate her younger;
brother and sister. Then compll- 1
cations set in to make the plot in-
triguing. Pushpa a young society
girl loves Ashok and goes to no end
of trouble in pursuing her object.
Some of these pursuits are, of
course, romantic. The married life
of Dasopant and Sushila proving
disappointing in achieving the su-
preme object of getting a child,
Dasopant sends his wife to a
pseudo swami against her will.
There, however, she Is rescued from
an outrage on her chastity by one
of the new devotees. The swami|
flys into a temper and sets
about wreaking his venge-
ance on Ashok with whom
Sushila takes protection, leav-
ing the roof of her own hus-
band. The papers next day ac-
cuse Ashok of kidnapping and im-
morality. Society takes up the
scandal with a rare relish and with
the help of Chintopant, a social
sponger, Ashok is thrown out of
his employment. Ashok now faces
poverty and privation. To add t
his worries Prabhakar, the brothe
of Sushila joins the poverty stric
ken family, being driven out by
Dasopant. Dasopant howeve
keeps Prema, the little sister o
Sushila. Sushila's stay with Asho
creates compromises and Ashok i
very soon sadly misunderstood. Ul
timately Sushila leaves home afte
restoring the estranged relations
between Pushpa and Ashok. Things
soon travel to a climax, in whic"
Dasopant, Ashok and all other
search for Sushila, who is ultl
mately found at the Broadcastin
station where the story ends hap-
pily.
Acting: Salvi as Dasopant h
given a very good performance li
a role that Is none too ?asy li
certain parts. Baburao Pendhar
kar as Ashok playing the hero fo
the first time, acquitted himsel
marvellously well and with parti
cular brilliance in light scenes
Baby Vimal, as Prema gave a beau
62
Creates a New Sales Record I
26
PROJECTORS
SOLD
IN
2 MONTHS
mi
Which Means twenty-six More
theatres For Indian Films
ONLY "BAUER" GOULD DO IT
The only relia ble Machine for
the MODERN EXHIBITOR
BAUER'S latest B 3 Projector with ultra HIGH INTENSITY Arc Lamp
The International Talkie Equipment Co.,
Roxy Chambers, New Queen's Road, Bombay
Sub-Agents :
Saraswati Stores :
d
Par
Famous Pictures
Madras Yeshwantrao G. Metkar : Hyderabad (Sind)
Prabhat Repr. ior Sind I
: Bhusaval Sonpal Talkie Film Service : Calcutta
SE "CONRADTY" THE MONARCH OF ALL CINE - CARBONS
FILMINDIA
March 19
tifully sympathetic performance
which won the hearts of all. Da-
muanna Malvankar as Chinto-
pant a social creeper was quite
good.
Production: Excellent direction
was the unanimous verdict of all
critics. Vinayak has improved be-
yond recognition. His work has
now acquired a subtle charm born
of rich experience. Several deft
touches to clever situations made
the picture a poem of harmony and
action. The scenario was clever-
ly worked out punctuated with dia-
logues that were at once brilliant
and instructive. The editing how-
ever called for a little more care.
SARDAR CHANDULAL SHAH
HITS OUT!
(Continued from page 23)
British Board of Film Censors at
the instance of the Secretary of
State for India in banning "The
Relief of Lucknow" before it went
into production. This is an inst-
Music was quite attractive though
the sound recording was not quite
up to the mark. Excellent and
thoughtful photography supplied
the visual demand of a picture
that must be called an excellent
production.
Points of Appeal: The thought
provoking theme commands the
attention of all. Particularly the
aspect of glorifyfing womankind in
general provides some ticklish food
to the innate vanity of every wo-
man and the fair sex will hail this
picture with a big broad smile. A
good treat for every family, no
one should miss this one of Huns
Pictures.
ance of the correct type of politi-
cal censorship; as the British peo-
ple are very anxious to avoid a
clash with India at this crucial pe-
riod. Surely, the lead given by the
British ought to provide guidance
to our provincial ministers and
make them jealous guardians of
our national honour.
Indian Exhibitors Condemned
"I have little regard for tho
exhibitors who connive at showli
such dirty pictures to our peop
and thereby bringing home t]
shame of our nation through tl
sons of the soil. The time has a
rived when every human activi
in our country, whether comme
cial, economic or literary must
decided on the touchstone of re
patriotic nationalism.
"Unless our people become ii
tensely conscious of their nation
existence, the country will nev
get real substantial independent
for which we are to-day stakii
everything.
"Finally I appeal to those nob
members of the Fourth Estate wl
believe in our independence as tl
ultimate goal to do their best
suppressing this evil, as I belie-
in the tremendous power th>
wield, which if rightly used, m;
save the nation from the slavi:
existence of eating at the han
of others — all that is given."
Here is a son speaking to a mother. That is the exact situation between Baburao Pendharkar and I
Indira Wadkar in "Devata" a Huns Picture at the West End.
Printed by Camer Saleh at the New Jack Printing Works, 75, Apollo Street, Fort, and published by him I
for 'fllmindia Publications Ltd.' from 104, Apollo Street, Fort, Bombay.
MOTHER"
Directed by:
GUN JAL
)IA CINE PICTURES
vIE COLOUR RELEASE
Released T h r it :
SUPREME FILM DISTRIBUTORS
JAe, &w.eeieit Utakd in any, Canguaae . .
9nddenta££u the 3iut Wxtid a
Human Eeina £eaAn6 to &peaJk
BUT
Hot the Wx>fJLd stopped and tfiougM that
OMd dirvale luold id the £a£itaAy, £ym&oC
o$ SteAnaC £ame and &zUeme £ac4igice?
I Cki*
LOVE & SACRIFICE
Are fox the First time
Pathetically and Vividly Picturised
in
mOTHER-MDIR
— A Natural Colour Picture —
In which Even the human tears glow with the Agony of Affection
c5/<
arring
SHARIFFA BANOO:
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DUSHfflRN
(THE ENEMY)
Drawing Crowds at
KRISHNA
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Photographer am
Director:
SJT. NITIN BOSE
Triumph in Techniqu
and Presentation
•
Starring:
Inimitable
★ SAIGA!
Lovely
LEELA DESA
Najamul Huseix
WITH
Jagdeesh B. A
Prithviraj B. R
Nemo & Deoba
•
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PUNKAJ MULLICI
Director :
DEVKI BOSE
THE GENIUS OF FILM -TECHNIQUE WILL
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Another masterpiece
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with a Mighty Cast:
• KAN AN BALA
• PAHARI 8 ANY AL
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• K. C. DCY ETC.
•
Music :
Sjt. PUNKAJ MULLICK
5/
(" SAPEHRA" — " *T ^ *T " )
CALCUTTA FILM EXCHANGE
Tinwala Building, Tribhuvan Street, Bombay No. U
r
nod this Certificate £ee Wko Cjioes
(It anc) Wk\j I Qnc) ijou will know ivk\j
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exclusive of a large number of consumers, and after nearly a month's
trial, we found that two of your X90 "Ozcnaire" Vodels »ere capable
of dealing effectively with the air in circulation, the size of the
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Two X59 "Ozcnaire" models, were found suitable for dealing
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As a result of these tests we have placed an order with you
for two 'each of the above models.
There is a feeling of freshness now on the ground floor, even
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DEDICATION
This issue of "Filmindia" is dedicated
to "Gunga Din" the Poor Indian Bhisti
who, as Kipling sings in his famous
poem, died like a faithful dog for his
white masters and in dying left behind
an excuse to the white-men to slander
his country and countrymen.
How tragic is that death which
bequeathes to the country a heritage of
slander and abuse at the hands of the
white men of the West?
And yet, let "Gunga Din", the Indiai,
live in the memory of man for "he was
a better man" than his white masters.
Proprietors: Filmindia Publications Ltd., 104, Apollo Street, Fort, Bombay
Editor: BABURAO PATEL
Suticriplion :
Inland Rs. 5/-
•na & Foreign Rs. 8/-
ingle Copy As. 8 -
i RL ON THE COVER
HANSA
in
NAV JEEWAN
(Bombay Talkies)
Tell us anoiltei £>f4 Reginald]
Mr. Satyamurti, the Deputy Leader of the
Congress Party, was aiming for the Moon
when he expected an Englishman, an old mem-
ber of the Steel Frame, to support India's agita-
tion against the anti-Indian pictures.
Heckled by Mr. Satyamurti, in the current
session of the Legislative Assembly at New Delhi
the Hon. Sir Reginald Maxwell, Home Member,
Government of India, admitted that no Indian was
serving on the Committee that sees anti-Indian
pictures on behalf of the India Office. Evidently
the Englishmen still know what is good for India
and Mr. Satyamurti should not question this pri-
vilege.
Replying to another question, the Hon. Sir
Reginald Maxwell said that he had read the arti-
cle on "Gunga Din" which had appeared in "Film-
india" and thought that the article took an exag-
gerated view of the objectionable nature of the
film. This opinion of the Hon. Sir Reginald is
based on stray reports he must have got from in-
terested quarters. Sir Reginald has himself not
seen the picture and how could he possibly call
the article exaggerated when we all know that
the article was written by a responsible journalist
who had the opportunity of studying carefully
the shooting script of the film?
An illustrious member of the Steel Frame
like Sir Reginald is not expected to form opinions
so lightly and on such flimsy material.
FILMINDIA
April 1
He cannot definitely say what he 'thinks' un-
less he 'sees'. And if he does so, he begins his
job with a prejudice that would not speak much
for the proverbial sense of British justice and
fairplay.
Sir Reginald seemed too anxious to give an
assurance to the effect that after certain excisions
were made, evidently at the instance of the India
Office, "Gunga Din" cannot be regarded as offen-
sive to the Indian sentiment.
And yet the full Board of Bengal Censors
banned the picture.
Why?
Does Sir Reginald know how R.K.O. Radio
Pictures, the producers of "Gunga Din" sell the
film? We quote below some of the passages from
the news sheets of the producers:
"Scenes of Britain's Empire Building"
"Several hundred Hindu fanatics — profession-
al assassins worshipping the Goddess Kali
whose sole creed and teaching is KILL."
"The period of "Gunga Din" is 52 years ago
when England was extending the sway of her
Empire farther into the scorched hills of
North West India".
This much, the producers themselves admit and
yet Sir Reginald thinks that "Filmindia's" article
was exaggerated.
The Women's University Club of America
with its formidable membership of distinguished
women of America must be having good reasons
to say: "Gunga Din carries on the tradition of
Great Britain's supremacy in India".
And yet Sir Reginald "thinks" (of course,
without seeing) that "Gunga Din" is not offensive
to the Indian sentiment. Since when has the
Indian sentiment been wedded to the British im-
perialism?
Jeanette Rex that celebrated English critic
thinks loudly enough for the World to hear: "As
for the story of 'Gunga Din' it is a moot question
whether India will enjoy it".
India doesn't enjoy it, but what does Sir 11,
ginald care as long as the India Office finds u
thing objectionable. And the India Office
expert Englishmen who know what is good
India, and whose knowledge cannot be questii. >
ed. i J
"It is A Dirty Film Showing India in a til fl)
light" may be the unanimous opinion of Indies
in Hollywood. But that shouldn't worry ijg ,-.
Hon. Sir Reginald Maxwell.
Americans — the friendly Americans urn
the 'expert' advice of Sir Robert Erskine Holla:
Major Samuel Harris, Capt. Clive Morgan, St
geant Major William Briers (all British,
course) — are doing "empire-building" for the E
tish and an Englishman like Sir Reginald — ti
and sporting — cannot possibly be unsportsmanl
to come in the way of friendly Americans.
ill
The fast crumbling imperialism of the i
tish in India now needs props from Ameri
What a pity!
In 'Gunga Din', the Hindus are called 'Thu
A British Sergeant kicks a Hindu Thug. Anotl
murders a Hindu when the poor man is pray
in a temple. At another place, the British Tom
enters a Hindu temple in boots and by his riot;
behaviour desecrates the temple. British S
geants in their drunken state plot to loot a *e
pie. There are numerous scenes of carnage i
cruelty — all against the Indians. And yet
Reginald shamefacedly thinks that 'Filminc
gives an exaggerated view of the objectiona
nature of the film.
Why not be honest and admit that the Y
kee hirelings are trying to strengthen
British imperialism in India and that the Ind
sentiment doesn't count?
Assuring Mr. Satyamurti that all precauti
are taken to prevent the production of anti-Im
films, even in America, Sir Reginald said t
"His Majesty's Consul at Los Angeles uses
good offices to obtain modification and if ne
sary rejection of films offensive to the Indian s
timent. The action is usually fruitful and
help to prevent the production of films repugn
to Indian sentiment."
iril 1939
FILM INDIA
And yet what has been the crop of this "usual-
fruitful action": "India Speaks", "Wee Willie
inkie", "Lives of Bengal Lancers," and now
Junga Din".
You make us laugh Sir Reginald! Tell us
iother!
[ TIMBUCKTOO HAS A BETTER POSTAL
SERVICE
No wonder, that our Postal Department
lows a consistent deficit in its Annual Budget,
be department is run by people who are bad
tsinessmen and do not know what good service
leans.
We have received hundreds of complaints
pm our subscribers and agents from all over
jdia, that they have not been receiving copies of
jilmindia' regularly.
During the last three months these complaints
have multiplied and we complained in turn to
the Postal Authorities.
But everytime we have been told that the
copies either could not be traced or that the mat-
ter is receiving attention.
During the time the 'matter is receiving at-
tention' we have been put to the loss of supply-
ing extra copies to please our readers, paying for
extra postage thereon and in addition going
through a lot of annoyance to us and to our rea-
ders.
All this because, the lazy fellows at the top
would not organize their department well though
they are paid for doing so.
We suggest that the next time, our readers
don't get their copies by the 10th of every month
they should kick up a real good row with the local
post master and the delivery postman and if
necessary manhandle them a bit.
Negligence is an offence and we are sure that
it can be punished with our age old methods.
Grem03on
ACTIVE OXYGEN CREAM
Ra. 3-8
A series of experiments on skin bleaching have shown that all organic colouring
matter reacts to the bleaching action of Oxygen. This principle is utilised in
a very judicious manner in preparing an Ozonised Cream under the name of
CREMOZON. Each jar of CREMOZON liberates about 200 cubic centimetres
of fresh active Oxygen which acts on the pigment and gradually bleaches tha
same, thereby making the skin permanently several shades fairer.
The presence of other useful emolients in CREMOZON makes it exceedingly
useful in removing freckles, black heads and sunburn. CREMOZON is highly
antiseptic thereby destroying germs which cause skin diseases.
AT ALL CHEMISTS AND STORES OR FROM:
COSMETIC DEPT., "CIPLA", - • - BOMBAY 8.
Gaining, to y,ou —
Straight from {he gleaming Qypsy Can
SITAR/
The story of the Gypsy World where danger
are greater, Friendship stronger, Love deepei
Hate fiercer, Fun riotous and Music sweeter
with a Top Rank Cast.,
Qzrec/ec/ and £/\oducec/ £y '.
EZRA MIR, the creator of " Z a r i n a
Bombay Calling
This section is the monopoly of "JUDAS " and he writes ichat he
likes and about things which he likes. TJ/e views expressed here are
not necessarily ours, but still they carry weight because they are
written by a man who knows his job.
•owning Nationalism In A Cup of Tea
The foreign distributors in India have now
arted flirting with the Indian producers and dis-
ibutors. For twenty-five years, they had no use
r our men. but now they have suddenly, rather
0 suddenly, to ward off suspicion, noticed the exis-
nce of our film men and are frantically arranging
Jet-together" tea parties to win the sympathy of
1 men.
This attempt is so obvious that one can almost
e through the game. One such attempt was made
1 the 22nd February and the Indian producers and
■hers in the industry were roped in for the day
trough the "good offices" of an Indian whose in-
rests are more with the foreigners than with his
vn people. The pity is* that the guests who allow-
1 themselves to be thus beguiled - and some of
lem are shrewd men of business - did not realize
le intention of the ruse nor did they discover the
nderlying motive of their man who persuaded them
i go there.
The scape goat who was perhaps made to pay the
ill was banking upon the usual Indian sentiment
> repay the expenses by an increase in advertising
•venue. But the very next day when his canvasser
as turned out, by an "ungrateful" guest of the pre-
ious evening, he suddenly realized that Indians had
ecome more businesslike recently.
The first "Get-together" left behind one stink
hich in the present days of nationalism one can
ardly overlook. And that is that one of our own
len conspired to deliver us into the hands of the
)reigners, so that they may exploit us the better.
Another "Get-to-gether" Tea Party took place on
le 22nd of March, exactly a month after the first
ne. 22nd of every month is perhaps going to be
tie fateful day, when bit by bit our men will be
issipating their individuality till nothing is left to
e proud of.
A special feature of the 2nd "Get-together" was
he unceremonius dropping out of the first time
uest who had let the advertisement canvasser down.
All these "Get-together" parties are a result of
the intense agitation of "Filmindia" against the
foreign distributors. For the first time in the un-
disturbed existence of 25 years, they are called upon
to use their wits and two performances of their wits
have already been given, with an Indian playing the
villain's role every time.
What better tribute can be paid to "Filmindia"
than to find these Yankees running about with out-
stretched hands begging for a handshake with any-
one that comes along, with readiness to drown his
nationalism in a cup of Tea ?
Let us wait for the 3rd "Get-together" and then
we promise a wonderful expose of men and their
methods.
STOP PRODUCING CRIME PICTURE
The ever increasing tendency among Indian pro-
ducers to produce crime pictures is to be deplored.
Our producers are on the wrong track. Instead of
doing real social and national work by producing
pictures that would elevate the moral standard ol
our people and educate the nation on right lines
through this all important instrument of visual edu-
cation, they are falling over one another to establish
a crime school in India after the style and fashion
pursued by the Americans.
Pictures like "Jagirdar", "Dynamite", Mr. "X",
"Double Cross", "Gentleman Daku", "Master Man"
and "State Express" are glaring examples of this new
school of production now in vogue with the produ-
cers.
It does not need much intelligence to imagine
the sad effect of such pictures on the minds of our
growing younger generation.
Even our present-day professional criminals are
taking pointers from these films, made thrilling by
the versatile brains of the script writers.
As a result of these dirty pictures, crime in the
country has been on the increase. So many methods
of committing crime and escaping have been shown
in these films, that the amateur criminal soon be-
comes a profssional feeling himself safe in his newly
acquired knowledge from the films.
7
FILM INDIA
April IS
We reproduc3 below a recent cutting from the
Bombay Sentinel:
PRISONERS ESCAPE
WITH RIFLES
LAHORE, March 5.
Nine prisoners Kith eleven rifles and
200 cartridges have escaped from the
MaJerkotla central jail alter a pitched
battle between the prisoners and the
jail statf, according to a report from
Melerkotla, a Punjab State near Lu-
dhiana. published in a local vernacular
daily.
The prisoners, who include four con-
demned prisoners, are reported to have
been taken out of their cells for the
day's labour. All ot a sudden, a pri-
soner attacked the warder who laised
the alarm. Other warders came to his
assistance and a pitched battle ensued.
The prisoners relieved a watchman of
hii ri&e and took ten more rifles and
300 cartridges from the armoury.
The Daroga ot the jail who rushed
to the spot was fired on by the priso-
ners, but was not wounded. Mean-
while, the prisoners managed to escape
after having iemoved '■ their fetters.
Mounted police and a military platoon
have been despatched in search of the
prisoners who are etill at large.
Did we hear of a crime of this nature ever be-
fore ? But now it has come to stay. "The Big
House", "Fugitive From The Chain Gang" and other
crime and prison dramas coming from Hollywood
have introduced this new vogue in crime. Indian
producers have conspired with the foreigners by
copying their productions as quickly as possible to
induce people to make crime a profession.
This is a case for the Censors.
We intend to take up this matter again for a
countrywide agitation, but in the meanwhile we
would warn our producers to steer clear of crime
pictures in their 1939-40 programme of production.
Why should talents be prostituted to teach crime
to our people when so many other things can be
taught - things which will turn our country into a
nation of better men ?
JOIN THE ASSOCIATION AND MAKE IT A
POWER
The Film Journalists' Association of India, is
now an established fact. Its name is likely to mis-
lead people into thinking that the institution is only
meant for newspaper journalists. It is not so. It Is
open to every writer - be he a script, story or dialo-
gue writer. The Association is in addition an all-
India affair and any writer who earns a living in the
film industry with his pen in any part of India has
every right to join the Association as a member and
enjoy all the privileges.
It is however necessary to dispel one wr
notion which some people seem to nurse. The
Journalists' Association of India is not a fight
body brought into existence to challenge our proc
cers or other people in the film industry. Far frr
it ! The Association, on the contrary, will fig
shoulder to shoulder for everyone in the film indv
try.
The Association does not seek power to destroy 1.
to build — build a new super structure on an old f ou %
dation. So those who are looking forward to some «
citing times, may as well not join it as the affaj
of the Association will be conducted in a stric
constitutional way without taking away the inhere
privileges of the members, which will be several a
varied.
Join the Association, if writers want their
ings to Tell.
Give Us A Competent Secretary
We understand that the Bombay Board of FiB
Censors is now searching for a suitable man for t|
post of its Secretary. It should have done so lo|
before. However it is better late than never.
The Censor Board is no longer a liability
the Government's purse. It is a department trl
is self maintained and can easily afford to havep
well-paid, whole-time secretary.
OUR
SILVER JUBILEE NUMBER
It was originally intended to publish
the Silver Jubilee Number of "Filmindia"
in the first week of April. But it had to
be postponed, as the dates of the forthcom-
ing Indian Motion Picture Congress have
been shifted.
The Silver Jubilee Number will there-
fore be out in the 1st week of May and will
replace our usual May issue. Don't fail
to read it. You will be surprised at the
contents.
Everyone has something to say about
"Filmindia" — something interesting, some-
thing surprising. Some of the persons who
have said it are: The Hon. Mr. B. G. Kher,
Prime Minister of Bombay; The Hon. Mr.
G. V. Pant, Prime Minister of UP.; The
Hon. Mrs. Vijayalaxmi Pandit and others
who count in the modern world.
And yet the price will be only 8 annas.
8
il 1939
FILMINDIA
I And a whole-time Secretary is required, if he is
•ected to maintain different kinds of Statistical
iirmation about the industry.
I We hope the appointment will not be made with
I city's politics in mind. We are not particular,
lit cap the man chooses to wear. But we certain-
ivish to see a competent man occupy the post and
I selected from our film industry, knowing things
liady, will be most welcome.
1 The post should not go to anyone from the Educa-
lial or other Provincial Services. The men in
Ise services are not expected to know anything
lut the film industry and they will take a long
|e to learn, even if they care to.
firTING DOWN THE BRANCH
I The man who produced the first Punjabi picture
I certainly made money for himself but in doing
bias done a bad turn to the industry in general.
Iter producers in the country attracted by the suc-
h of the first Punjabi picture and hearing legends
Ithe huge amount of money it brought in, are fall-
I over one another in an unholy hurry to produce
Lures in the Punjabi language.
L This is all wrong, as by doing so, they are cut-
is the branch on which they have stood so long.
Itures in Punjabi cannot be paying in the long run,
le their novelty is worn out. The field is so small
It there is a likelihood of it being flooded with a
■nber of pictures in a very short time. It is very
ly for the producers to turn out pictures in Pun-
Hi as a large number of our artistes come from this
evince.
, But in this quick and easy production lies the
liger to the producers who have all along staked
prything on Hindi and Urdu pictures. It is suicidal
N them to give pictures in Punjabi to a province
Rich is an essentially Hindi and Urdu stronghold.
South India producing pictures in Tamil and
Telugu can be suffered because the province considers
Hindi and Urdu as strange languages, but Punjab
doing it is absurd. Even in South India, the Hindi
talkies are nowadays gaining more ground, because
their local pictures could not compete with Hindi pic-
tures in technic and presentation. Several Tamil
and Telugu pictures have failed miserably last year.
While on the other hand Hindi pictures have scored.
If this is the case in an entirely non-Hindi pro-
vince, what will be the future in an essentially Urdu
province like the Punjab?
Producing pictures in Punjabi is a great mistake
and the earlier our producers realize it the better for
all concerned.
LOVE ON THE GIPSY KNIFE
If you feel like thirsting for a spot of gipsy music,
see "Sitara" which Ezra Mir has produced. Everyman
is a bit of a gipsy — in the sense that he often ima-
gines himself to be a cave man who would like to
act chivalrous if he happened to come across a gipsy
girl in a lonely spot in the jungle.
Keeping this emotional weakness of the human
beings in view, Mir has made "Sitara" a riot of steal-
thy romance in which Khursheed, the glamorous
gipsy girl steps out of the screen and without your
permission steals into your heart to give an ache
which, while it hurts, also soothes. *
Into the frightening speed with which this pic-
ture travels, the clever director has framed a throb-
bing romance of hearts that are stabbed by love and
stitched by the gipsy knife. There are deals and
duels, squeals and squabbles not to mention thrills
and throbs. "Sitara" is a picture one must not miss
if he wants to learn how to balance love on the keen
edge of a gipsy knife.
Marching to plant the Union Jack and carry "law and order" into the Frontier. A shot from "Gunga
Din" a R.K.O. Radio picture against India.
• IOM3IOXSEXSE CROSSWORD" Xo. 144
This monster Offer brings you a grand opportunity of winning three magnificent prizes ; a fortune
of Rs.25,Q33 ; Return passages to England by Air or Sea at any time you choose ; and a:i ' H.1V1.V.' deluxe
Radio Gramophone. If you prefer it, or in the event of a tie, an extra cash sum will be awarded in lieu of
the passages and Radio Gramophone. The huge sum of Rs.10.0D9 is reserved for Runners-up and unlimited
Extra Prizes extend to every solver whose entries contain four errors or less. In addition an atlradioz Free
Gift is offered to every entrant. Any one of you reading these words is capable of carrying oft the First Priza
in this Competition — you have only to thrash out the Clues carefully, for which reason we strongly urge you
to begin on the Practice Square below without delay.
CLUES ACROSS
1. Not this but your own skill
gains you success in these
Competitions
4. They cflen consider the privi-
lege of parenthood a mixed
blessing !
9. Reflected sound
10. Fairy-tale monster
11. Likeness*
12. Man whose outlook is always
this seldom achieves much
success in business
15. A precocious child often
causes his elders to regard
him as this
18. Open suspicion is apt to make
a guilty psrson this
19. Past
21. Determined youngsters usu-
ally find a way of overcom-
ing an obstructive one
23. Jumbled spelling of hand
26. Those which some women
affect seem to defy all
reason !
28. Pungent or bitter
29. Those who do this widely
thereby usually acquire a
greater understanding and
tolerance of human nature
31. Diminished
34. None of us can have too much
of this faculty
35. Most parents derive keen
pleasure from their child-
rens' . . .
€OI*MES AVA
CLOSING DATE APRIL 13th.
N.B. — The Entry Fee in this Competition is Re. 1
per entry and Entry Squares will be pub-
lished in the issues of March 19th, 26th and
April 2nd.
Copyright of these puzzles strictly
reserved by the Compiler.
ONLY ENTRY SQUARES
CUT OUT FROM
"THE ILLUSTRATED WEEKLY
OF INDIA"
of March 19th, 26th, or April 2nd,
will be accepted
tLABLE 1KOM ALL
CLUES DO\V\
1. One needs the quality of dis-
cretion to be able to do this
succe3sfully
2. Sheer exuberance of spirits
sometimes causes a young-
ster to be this
3. Well known non-alcoholic
beverage
4. This typ3 of man is seldom
greatly liked by other men
5. How difficult it is to listen
pa'i ntly to utterances
which are this
6. Border of a g v. ment
7. Apt to be dangerous when
inspired by malice
8. Feminine pronoun
13. As a rule sentimental persons-
are easily this by harsh
ones
14. It often calls for unusual
foresight to anticipate one
15. It is highly indiscreet to
fondle a cat's
16. High
17. Most young women have a
natural liking for gay ones
18. Mild this sometimes helps
to cheer up bed-ridden
invalid
20. Long-distance runners usu-
ally prefer a long this to a
short cne
22. Their friends often find such
people extremely exasperat-
ing
24. Refuge or place of safety
25. Be extra cautious when com-
bating a foe who seems to
be this
27. Female sheep
30. To be indebted
32. To court
33. Domestic quadruped
XEWSAVEXTS
TL EDITOR'S ffMlb
Headers " when you are worried " write to me. I ivill do my best
in serving you. Serious matters ivill be treated seriously, while
flippant letters ivill receive like replies. — The Editor.
From: Dawood Cassini (Durban)
What happened to the Imperial Film Company?
It closed doors as a result of continuous misfor-
tune.
From: Bachubhai Mchta (Agra)
Where are Vithal, Bakre and Bachu, the kings of
the silent days?
Silence! Don't speak so loudly or they will wake
up and start a "battle" with wooden swords. Time
has left these old heroes behind.
From: Ghasiram Jalan (Bombay)
Why do Bombay Talkies have a foreigner as a
director?
Because they do not get competent Indians to do
the job. Direction is a peculiar job and needs
really skilled and intelligent men. When I say
that India has hardly half-a-dozen good direc-
tors in its twenty-five years of film making, you
can realize how difficult the job must be.
From: Narendra Kumar (Gorakhpur)
What is your idea about girls from respectable
families joining the film industry?
I think, it is a good idea. We have already seve-
ral respectable girls working in the industry and
they have nothing to complain. Those few who
complain and make a mascot of their chastity
have none to lose. To be a good woman one need
not necessarily belong a good family. I know
girls from first-class families having third class
reputation. There is nothing wrong with our film
industry now. It is so much commercialized now
that there is no time for sexual intrigues and in-
dulgences. Every girl is as safe as she would be
in the lap of her own mother.
From: A. K. Arvi Ando (Bombay)
Can I have the privilege of meeting Kanan Bala
personally? Please give me her address.
Last month someone wrote to me saying that
Kanan's mother was a great obstacle when he
wanted to see her. I think the mother is still
there and as she is reported to be quite hale and
hearty she threatens to be "still there" for a long
time to come. I suggest your writing to Kanan
at 23 P, Princep Street, Calcutta, and making
discreet inquiries about her mother first. I wish
* you every luck and you will perhaps need it.
From: Vipin H. Jhaveri (Surat)
I wrote seven letters to Madhuri requesting for
an autographed photo, but this girl has neither sent
it nor replied to my letters. I have now determined
to send a pair of real diamond ear-rings (as my fa-
ther is a diamond-merchant), will she accept and
acknowledge that or not?
Of course she will. Do send the ear-rings along
— as long as the diamonds are real no girl will
refuse a present from a fan. By the way, does
your father also like Madhuri? I thought, dia-
mond merchants sold diamonds and not present-
ed them.
From: A. S. Rao (Secunderabad)
Why are actresses paid more than actors
directors?
and
Why did Adam eat the forbidden fruit in the
Garden of Eden? Adam has not yet found the
reason. The day he finds it. Eve will lose all her
charms.
What do you think of "Marie Antoinette" of
Metro-Goldwyn-Mayer?
An excellent picture, pictorially, but in the last
three reels the director failed to achieve that in-
tensity of pathos and emotion which the situation
called for. And to that extent that great actress
Norma Shearer failed to act. Many will not agree
with this, but they need more understanding to
grasp these fine subtleties. It is the game of the
critics. For the layman, "Marie Antoinette" must
be classed as one of the best pictures of the year.
I have applied to the Sagar Movietone for the
post of an actor but I didn't get any reply?
You are lucky. And I wish you more luck. Meet
some of these actors and you will know why.
From: T. N. S. Murthy (Trichinopoly)
I am an admirer of Raja Sandow. Can you give
me some particulars about him?
No! I want you to go on admiring him.
Why don't you publish the reviews of the foreign
pictures?
There are hundreds of papers doing that. The
Indian film industry has only "Filmindia" to do
all its propaganda. So I stick to my industry and
sell the wares of my producers. I have no time
to keep shop for any foreigners. You should do
the same.
11
1939
Mi: Hikmat U. Khan (Gwalior)
During the year, on which Indian picture, has
H largest amount of money been spent?
|Dn "Sant Tulsidas" produced by Ranjit Movietone.
I The salaries alone amounted to a lakh and twenty
b :housand rupees. The picture is a saga of De-
j./otion. Don't miss it. Even as a Mahomedan,
■you will learn much from it.
In: S. Ahmed (Baroda)
■I am fond of Saigal but his bald head is the only
Ig I dislike. Can you suggest any remedy?
A3 Saigal is not asking the remedy, we can not
grow anything on his scalp. In the alternative I
suggest that you grow longer eye lashes, which
may help you to like Saigal more,
n: P. M. Mayan (Cochin)
How can the husband of a film star rely upon
sincerity of her love towards him while she be-
is in the very same manner doing anything and
ything with her screen lover in the picture?
It is a pity that some of our screen girls do not
know the same warmth of affection in real life.
Had they done so, the husbands would not have
grudged them their screen "affection". At home
they become just wives and break the furniture.
m: P. V. Ramana Murthy (Vizagapatam)
Is there any picture in which there are no girls?
I know one produced by Americans. It is called
"Boys' Town". But in India, even Jaddan Bai dis-
appointed us in this respect. Being a woman we
thought that she would keep women out. But
she didn't and she was in it too to multiply cur
feelings. But keep this wish a secret. If some
of our producers hear you, they will stop produc-
ing and then we won't get more pictures.
m: Suresh (Ajmer)
Which is the first Indian picture to be produced?
who produced it?
The 1st Indian picture was produced by Dada-
saheb Phalke who is called the father of the
Indian film industry. The picture was called
"Harischandra".
•m: M. N. F. Shaikh (Devlali)
I Where and what must be the thoughts of Babu-
i Pendharkar when holding Meenakshi, as seen in
1 picture on page 11 of your December issue?
] The same as yours perhaps. But Baburao is not
I so sensitive now and he won't allow his thoughts
J to wander. By the way, are you a bachelor?
>m: T. K. Pillay (Nagpur)
One of my friends is very anxious to act with
•ita. How should he proceed?
FILM INDIA
Sabita is now a producer. So the best approach
would be through her mother, who I am told, is
managing her business affairs. Badami can also
arrange on behalf of your friend. But why all
this row! Has your friend any talent for acting?
From: K. K. R. Pillay (Razmak)
I am a soldier in the Indian Signal Corps. I
want to join in a film company as an actor?
Better be shot as a soldier than as an actor.
There is more glory for the former and more cri-
ticism for the latter.
From: Balchand T. Daryanani (Hyderabad)
What is your idea of Sagar's "We Three"? I think
it is the worst picture of Mehboob.
Don't rush to conclusions. His next one "The
Only Way" is soon coming. My opinion of "We
Three" I wrote in the August 1938 issue of
"Filmindia".
What is your idea about stunt pictures? The
effect of these pictures seems to be bad on weak
minded people.
Not only on them but also on the producers
themselves. Most of them can be heard giving
expression to their weak minds.
From: S. L. D. Roy (Calcutta)
Here, in Calcutta, there is a rumour that all
the best artistes of New Theatres are going to be
captured by Film Corporation of India?
Even if the rumour had some truth, mere cap-
ture would not take the artistes any far. Film
Corporation must produce good pictures for
these artistes. I however don't think that the
Film Corporation can afford this luxury much
longer.
From: D. M. Mudbidri (Poona)
Don't you think that our trailers of Indian films
are unnecessarily long?
So are the pictures, which these trailers claim to
advertise. Our trailers as we find them today
convey a warning to the audience of what is in
store for them. I think that a large number of
people are scared away by these trailers and no
wonder the picutres fail. The trailers are some-
times so long that one finds it cheaper to see
the trailer than the picture. As a short syno-
psis of the pictures, the present trailers are good
and leave no further desire to see the picture.
But as trailers, intended to create a desire, they
are just no good. Well, trailers need brains and
that is what the producers are searching for.
From: M. S. Ramchandran (Madras)
What is the next picture of Shantaram in which
it is reported that Shanta Hublikar is working in
preference?
13
FILMINDIA
April
"Life is For Living" is its name, of which in-
cidentally, Shantaram himself knows very little.
His friends say that he once went to Europe and
didn't visit Paris. And that man is going to tell
us how life is to be "lived".
From: G. S. Chetty (Anantapur)
Filmindia gives highly interesting news about
Hindi films, but not about Telugu and Tamil pic-
tures. Do you think that Hindi pictures are better?
Certainly, to be accurate, a hundred times bet-
ter. Some of the very good Telugu and Tamil
pictures have been worse than the fourth rate
Hindi pictures in technic and finish. About
news, I have been asked a hundred times. The
South Indian producers are so busy with their
own 'affairs' that they have no time for news
or newspapers. Surely, you don't expect papers
to give news of people, who have yet to learn
some primary fundamentals of modern business.
Some of these South Indian producers are not
industrialists, they are merely time servers with
a "purpose." It pains me to say that, but some
one must tell the truth some day if the South
Indian film industry is at all to be noticed by
the rest of India.
Why don't the. prominent actresses marry?
Probably they have no reason to. People do
things to get things.
From: M. Jahagirdar (Gadag)
Is Surendra superior to Saigal in singing and
acting?
Ask me another. Surendra will blush when he
reads this. By the way, stop reading "filmindia".
You are wasting time and I am wasting my
energy.
From: Dr. Wazir Chand Chopra (Jullundur)
How much money will Shanta Apte demand if
I write to her for her photo?
Exactly Rs. 2-8. A letter from her secretary will
be sent free in addition.
From: M. I. Saksena (Cawnpore)
Is it necessary for artistes to observe celibacy
in order to maintain his natural gifts in tact?
No. It is however necessary to avoid over indul-
gence. Even the hero of "Brahmachari" (The
Celibate)— Master Vinayak is a married man,
with a child as evidence against celibacy.
From: V. Ramadurai (Frode)
Is Maya Bannerjee married?
I don't know. They ought to know,
14
Which is the better picture between "SI
Singer" and "Dhart-i Mata"?
"Dharti Mata".
From: Kumari Jagdish Kunwar (New Delhi) 8
"I was disappointed not to find my questions
plied in your February issue. You give answer:
all who threaten you. Because I am a girl you
keeping quiet. If I don't find my answers in |
March issue I shall take necessary steps to
honour you".
I am frightened Kumari, as your threat bri
to mind the outburst of another young lach
don't reply letters which don't bear the full .
dress of the writer. Yours does not and sti(
like your temper and I choose to get frighte
of you and answer some of your questions be]
Is Prem Adib Mahomedan?
Yes.
Who is the more handsome between Gul Has
and Najam?
Najam is. Gul Hamid was.
Is Najamal Hussein the most handsome a<i
in India?
No.
Why Maharashtrian artistes pronounce H
and Urdu words miserably?
Because their mother tongue is Marathi
they have neither the patience nor the desin
learn Hindi and Urdu. And unless they do 1
they will never meet with your approval.
Why Kanan Bala is considered to be best sii
among all the Maharashtrian actresses?
Kanan Bala is not a Maharashtrian. Shi
"Made In Bengal". She however comp;
favourably with the Maharashtrian actre
where singing is concerned.
Why are people mad after New Theatres' sor
Why don't they prefer the songs of the Mahara
trian companies?
Because the songs are attractively tuned 11
beautifully worded. The N. T. songs are wriWj
and sung to make them popular. Others If
songs because they have to be put in at cerlfi
intervals.
fail
Reply all the questions in March issue witq|jji
Now I have reolied to all your questior
couldn't do so in the March issue your lejj
reached me in the last week of February
my March issue was ready then: It was not I
ril.939
FILMINDIA
Jialt that February had only 28 days. Now that
ju have scored over me, send me another big
] t of questions.
ii R. M. Haridas (Cawnpore)
dr which role will Bibbo be suitable — a mother
a sweetheart?
I* both— as mother to a grown-up son or as
1-eetheart to an old man. Bibbo is a versatile
■tiste and she can do both these roles very
"11.
ft: Gagan Behari (Cuttack)
■want to form pen friendship with some cinema
Bscs. How can I?
Ign your name on their photos when you find
■em published in Filmindia. What is the use
I your writing to the girls, as most of them
l.n't write. Those few who can, have no time,
ftiey are too busy between the producers and
e directors.
From: J. Mohapatra (Cuttack)
Some Bengali directors are in the habit of paint-
ing the Oriya character in a very offending manner.
Films like "Jayadev" are examples of such nasty
provincialism. When you write so much against
anti- Indian pictures, am I not right in calling your
attention to this inter provincial slander?
If what you say is right, you have done the cor-
rect thing in drawing my attention. I have not
seen "Jayadev" and other pictures which you
have seen. But if these films really contain
inter-provincial slander, then I shall be the first
one to condemn them. We have been taught to
look upon our country as a whole without pro-
vincial demarkation. Any efforts to create pro-
vincial barriers by oxcitng provincial hatred
must be stamped out. I saw something like this
in a certain Bombay picture and on pointing it
out to the producer concerned, I was told that
the picture was a comedy. But why have even
fun at the expense of another province? I
think the producers should take your feeling as
a general warning and if they still persist in
this folly, the only alternative is a relentless
agitation. I shall certainly back you up in this.
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MAYA—
In Yak iib's "Her Last Desire" a Sagar social picture, Maya adds one more triumph to her lone list.
^ke 1st JHaratkl 'JPiclure wktck 3~£. tke Governor of J5omba<
3fas £/ver Seen OfnJ 3ie Saw SJt ^krougk !
DE VAT A
PRESS NOTE
"On tke 23rd Marck '39 His Excellency
iSir Roger Lumley, tke Governor of
Bombay and Lady Lumley saw ftDevata:>)
a Huns Picture at "West End Cinema
at 10 p.m. Xkey were received ty Air.
Baburao Pendkarkar, wko sat witk His
Excellency tkrougkout tbe skow, explain-
ing tke treatment of tke won derful rkeme
on wkick Devaia is kuilt as a picture*
Directed by: Mr. Vinayak
Starring :
SALVI
MEENAKSHI
INDIRA H VI I II
DAEY VIMAL
West End Cinema, B omD
H
D
N
BOTTLE
OF
BRANDY
The Pro'rWion Picture of the Year
Press Note
'Bottle of Brandy" will
be released thru: Famous
Pictures, Bombay
]
12,000 Feet of Celluloid-
Developed in a Drop of Liquid Fir
The drop that has wrecked homes, ruined
human lives and destroyed nations
HUNS PICTURES GIVES —
—THE PICTURE WHICH OUR NATION WANTS TO-D
PITy THE POOR FlliAl CRITIC
There Is Too Much Competition From The Viceroy, Governors,
National Leaders, Society Ladies & Studio Publicity Managers!
By K. AHMAD ABBAS Famous Film Critic of "The Bombay Chronicle"
I wonder if it is possible. But I
will try.
♦ • *
An old College acquaintance of
mine met me recently after a long
time. The first question he asked
me was naturally about my profes-
sion.
"I am a journalist", I briefly re-
plied.
He looked at me rather pityingly.
"What exactly do you write about?"
"I review films and conduct the
cinema page." This time his ex-
pression betrayed pity not unmix-
ed with contempt - as if I had told
him I was a scavenger or an under-
taker! But, then, even scavengers
and undertakers are necessary for
society. So are the film critics.
And yet, like my friend, the average
person looks down upon us as if we
were an inferior species. Why ?
FACTS AND FICTION
There seems to be a general im-
pression that we are all black-
mailers and, therefore, a contemp-
tiule tribe. As if there are not
black sheep even among temple
priests ! This fiction about film
critics and cinema journalists living
on the bribes given to them by the
producers is one of those legends
about the film industry which per-
sist in popular imagination.
Another myth, of course, is that
studios are like the courts of feudal
debauchees where producers sit
idly, surrounded by pretty damsels.
I found how utterly baseless both
these notions are when I came in
touch with the film industry. For
almost two years I have been writ-
ing about films and patiently wait-
ing to be approached by a producer
with an offer of money. Upto the
time of writing, no such offer has
been made. Rather discouraging
for a budding blackmailer 1
GIVE US A SQUARE DEAL
The prejudice against film jour-
nalists, shared by the Studio exe-
cutives, film stars, the general pub-
lic, is most unfortunate. As a small
group of workers striving to help
the industry as well as the average
cine-goer, we deserve better consi-
deration. Our conditions of wori
are not enviable Our wages are low
the hours of work are often from
the first press show in the morning
(sometimes at the unearthly hour
of 8 a. m.) to past mid-night when
the premiere of some film is over
or the last proofs have been passed
for the press.
The Press Shows are bleak
affairs as a dozen unfortunate be-
ings sit in the ghost-like silent ol'
an empty hall compelled to miss
their breakfast to see a picture
be it good, bad or indifferent.
Those of us working for the daily
press have to do many other odd
jobs, too, - anything from editing
an article on the black beetle to
reporting a football match.
Some of us who have their own
papers often combine the jobs ot
editor, advertisement canvasser,
copy-writer and lay-out men be-
sides having to cope with screen
struck persons in search of jobs
and providing themselves as target
to temperamental film stars out
to avenge grievances - real or
imaginary. Not a few of us
live in the cold shadows of
the bankruptcy court. It should
not be thought that I am complain-
ing. Most of us have taken up this
job by choice, because we are in-
terested in films and have faith in
its future as an art, as an enter-
tainment and as a vehicle for new
ideas. We are on the whole, quite
a merry gang and we enjoy our
work.
But the main reason why I ask
for a square deal for the film critics
is that, really speaking, at presen'
we can hardly be called filrr
critics. At best we can claim to be
striving to become film critics
This is neither modesty nor bitte.
irony. It is a fact. Having nc
traditions of dramatic criticism o:
any kind of art criticism to folio?
in our country, we are only nov
beginning to create our own stand
ards and values of criticism - by th.
simple method of trial and error
There are difficulties, howevei
which beset our path - difficultie
inherent in our own shortcoming1
and in the attitude of the publi
and of the producers towards us
This article is meant to point ou1
some of them.
Let s begin by debunking an]
notion that film critics are bori|
or that criticism is our exclusiv,
estate. Personally speaking, mi
own chief qualification for writin|
about films is the fact that I sey
at an average, a film every day anj
have been doing so for some tirm
The only essential difference betH
ween a critic and a reasonably
observant film fan is, as pointe^ 1
out by an eminent English criti«H
that the former has "better oppor
tunities for judging pictures, wide!
standards of comparison and mom
practice in summing films ul
quickly."
To this I may add that seeinj
all kinds of films as a routine jol
and a comparatively closer famii
liarity with the technical processed
of film production tend to give uJ
an objective (you might call 1
cold-blooded ) attitude towarcl
films - so that we are not so easiB
carried away merely by the glsl
morous personality of an actrea
or the glycerine-tear-stained climal
of a sentimental photoplay, as tfcl
average cine-goer is quite liable t|
do. We also make it our busineil
to study the box-office and on seel
20
kpril 1939
FILMINDIA
ng a picture should be able to say,
vithin a reasonable margin, how
he public would react to it.
ART AND ARITHMETIC
The ultimate standard of judg-
nent, of course, must depend on
he individual taste and tempera-
nent of the critic. Art is not
lirithmetic that the correct solution
n every case must turn out to be
;he same. The films are produced,
I with artistic and technical cun-
ning, to appeal to millions. There
[ure all sorts of ways of looking at
|;hem - and of writing about them,
i There are poetically inclined critics
ho whom the pseudo-mystical at-
mosphere of Devaki Bose and Barua
pictures makes a special appeal,
vhile there are others who prefer
t;he straightforward approach of
i'tfitin Bose and Shantaram.
One is fastidious about technical
perfection, another (like me) m;\y
tpverlook any flaws in photography
! or sound-recording if the film has
some originality and its approach
flto life and its problem is progressive
and realistic. Again, trade paper
critics must (to be fair to the exhi-
Ditors who depend on their opinion
to book the pictures) keep in view
the box-office appeal more than the
'other artistic or technical qualities
of a film. But in whichever way
he looks at it, a film critic should.
' above all, remain Impartial and
provide proper guidance to the
film-goer.
It is not necessary to be merci-
lessly critical. At the present stage
of our film industry, it would be
callous to damn the crude (but, in
some ways, promising) productions
of small studios, with a stroke of
the pen. But the critic owes it to
the producer and to the industry
to point out avoidable flaws. And,
finally, he owes it to the fan to
describe the pictures correctly to
help him (or her) choose an even-
ing's entertainment. There is a
demand for all sorts of films -
from mythological epics to crime
"thrillers". It is the duty of the
critic to see that he does not send
those who would like "Tukaram"
to see "Hunter Wali" and vice
versa ! That would be a tragedy
and a betrayal of the trust that
the public reposes in him.
Having thus defined the func-
tions of a film critic let us indulge
in a bit of self-criticism and dis-
own certain members of our own
fraternity who make no effort to
conform to a reasonable standard
of criticism. Unfortunately Film
journals have sprung up like mush-
rooms and are conducted, in some
instances, by incompetent journa-
lists. All kinds of people have
taken to film journalism - Romance-
hungry youths out of college, un-
successful merchants and even dis-
missed studio employees with a
grudge against some producers.
Is it any wonder that we don't get
proper film criticism from them ?
"CANCEL THE ADVERTISEMENT "!
How are we, one may ask, to get
rid of bogus critics ? The produ-
cers have a set remedy - cancel the
advertisement! Now it is true that
without advertisements a film
journal cannot carry on for long.
But in actual practice, this policy
of stopping the advertisement of
any paper which writes against
you encourages irresponsible jour-
nalism and strikes at the root of
independent criticism. It is easy
for a journal with no consistent
editorial policy to make a Volte
Fare and regain lost advertise-
ments by singing the praises of the
very people it had previously run
down.
But it makes the task of inde-
pendent critics difficult who often
find themselves bracketted with
such slanderers and blackmailers.
On the other hand this policy, how-
ever well-intentioned, encourages
flattery, undignified subservience
and pandering to the slightest
whims of producers. In short, it
sounds the death-knell of genuine
crititicism while failing to check
the unwholesome practices in film
journalism.
What, then, should the producer
do ?
He should, of course, withdraw
patronage from any unscrupulous
paper which is guilty of blackmail
- even if that paper is perpared to
praise him and his pictures.
Generally speaking, however, the
advertisement campaign should be
absolutely independent of what a
a paper writes or does not write
about your productions. Adver-
tisements should be given on the
basis of the advertising value of a
paper - even if that paper has
severely criticised your pictures.
Have you noticed liquor adver-
tisements appearing in Congress
papers, side by side with leading
articles supporting Prohibition?
Whatever you may say about the
consistency of such papers, one
cannot help commending the com-
mon sense of the firms which pay
for advertisement space for its own
sake without bothering about the
editorial policy of a paper. They
are, as advertisers should be, only
concerned with the value of a
paper as an advertising medium -
i.e. its circulation.
In this respect it will be noticed
that the public is the best judge.
Investigate the circulation of ir-
responsible journals and the truth
of this assertion will be evident.
Indeed, it is only the wrongly-
placed patronage of the producers
which is responsible for the exis-
tence of such a class of film jour-
nals. Left to the public, they
would soon wither away - for they
have hardly any sales. Circula-
tion and not the adjectives used
for boosting pictures should be the
criterion for the producer's adver-
tisement schedule.
I have noticed that even some
of the most advanced and progres-
sive producers resent independent
criticism and try to silence it by
all kinds of means. I know of at
least two instances when the chief
editors of two well-known papers
were approached by the producers
with a demand that they dismiss
their respective film critics for
daring to criticise certain films.
Threats to stop advertisement art*
frequent. In this connection the
policy of even certain leading
papers to pander to the wishes of
their advertisers by publishing
laudatory "write-ups" for every
21
FILM INDIA
picture is very unfortunate. The
film critics here are thus made
subservient to the Advertisement
Department. If these papers took
up a strong attitude in defence of
their critics, the producers would
soon realize that they cannot afford
to lose such valuable advertising
media.
THIS "WRITE-UP" MENACE
These studio-made "write-ups"
according to which every picture
is the "greatest, mightiest, star-
studded screen epic of all times"
are one of the curses of our film
industry. I once remember obser-
ving that everyone of a dozen pic •
tures noticed on the cinema page
of a well-known English daily was
described as "the best show in
town" and praised in the choicest
adjectives out of Thesaurus. A
greater tragedy is that more or less
the same adjective-laden write-ups
appear week after week.
Having been connected for some
time with the Publicity Department
of a studio. I realize the difficulties
of the Publicity Managers who,
often single-handed, have to write
out advertisements, look after cor-
respondence, keep in touch with
Advertisement Managers and edi-
tors, get all the printing done and
arrange distribution of hand-bills
and putting up of posters. They
have little time to think of original
ideas of indirect publicity, to create
studio "news" or to write articles,
interviews with stars, etc., which
would be far more effective than
the "write-ups" which they mecha-
nically turn out.
If only the producers reorganiz-
ed their publicity departments on
better lines and supplied cinema
editors with well-written informa-
tion and interesting matter instead
of expecting them to print "write-
ups" week after week, things would
improve fast. They should at least
realize that if twelve pictures on
the same page are described as the
"best show in town", it helps none
of them at all. A reader may be
justified in thinking they are all
equally bad !
AMATEUR CRITICS
I don't know who started it.
But it was an ill-fated day when
someone hit upon the idea of get-
22
ting a certificate for his picture
from a public leader. Since then
such certificates have been given to
the most mediocre pictures by (al-
phabetically speaking) Authors,
Baronets, Bishops, Congress lead-
ers, Editors, Governors, Home Mem-
bers, Legislators, Mayors, Ministers,
Municipal Councillors, Presidents,
Society Ladies and the Viceroy.
They are not content just with ex-
pressing a few polite words of ap-
preciation, but must go out of their
way to put on record their opinions
even on the technical aspects of
a film.
"The colour process was ex-
tremely effective and natural", said
His Excellency the Viceroy of a
film which (whatever its other
qualities) was, at least, a crude at-
tempt at colour . photography.
Lady , the wife of a high
government official, says of the
same film "The acting and photo-
graphy are above the normal
standards of our films" and another
Society lady thinks "the colour
effects excellent".
The Aga Khan who, according
to an advertisement has never
spent more than fifteen minutes to
see any film in Europe or America
(what a qualification for a film
critic ! ) is said to be another ad-
mirer of this picture. I wonder
whether he was drugged to sit
through the whole picture. A few
years ago an eminent national
leader who is a lady of great talent
and culture spoke in glowing terms
of a short comedy produced by a
local studio. The film hardly ran
for two weeks and was such a
miserable failure that the produ-
cers did not repeat the experiment.
Now I maintain that this publi-
city method is unfair to all the
parties concerned. The Aga Khan
(as representing such dignitaries)
is as competent to judge films as
I am to give my opinion on the
form and quality of his race horses.
Nor is it fair to eminent people
like the Congress President or the
Viceroy to be made sale arguments
in film advertisements ! By these
means you cannot make a box-
office "hit" out of a mediocre film.
We still remember how five years
ago a film, which was opened by
the Viceroy in Delhi and the Gov-
April 1939
ernor in each provincial capital,
utterly failed to appeal to the pub-
lic. And yet "Tukaram" created
a world-record without any certi-
ficate. Not the bureaucrats or
plutocrats but the mill-workers of
Bombay helped it to run for a
year !
It would be far better if produ-
cers spent more energy in improv-
ing their films than In running
after such certificates which mean
nothing and which are only creat-
ing a class of distinguished, but
hopelessly amateur critics. Misin-
formed appreciation is merely a
means of self-deception while
genuine criticism is the only guid-
ance for improvement and progress.
It is indispensable to producers,
Directors, technicians, actors and
actresses.
WE MUST GO ON
But (this is my final complaint),
while producers resent criticism,
artistes are often found to be
utterly indifferent to it. A leading
film star (for whom both as an |
artiste and as a lady of great i
charm and culture I have the
highest regard) recently told me
rather naively that she did not !
read my reviews of her films. |
It was not merely a shock to
my vanity but also a sudden
realization of the thankless futile
task of a film critic in India. And
yet, like blundering pioneers in an
unexplored territory, we must go
on. Perhaps some day some one
will thank us for our persistence.
• * *
I wondered if it would be possi-
ble to do a bit of plain speaking
without offending many people. I
don't think I have succeeded. But
at least I have tried.
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THE ONLY LADY JOURNALIST OF THE SCREEN
GUNGA DIN Banned in Bengal
Filmindia's Agitation Justified
Full Board of Bengal Censors Condemns the Picture
Filmindia Foils Sly Attempt of The Local Distributors
" GUNGA DIN " Condemned All Over The World
"Gunga Din" that notoriously anti-Indian pic-
i ture, produced by R. K. O. Radio Pictures Corpora -
J tion of America, has been banned by the Bengal
i Board of Film Censors, when the picture was sub-
" mitted for censor before the Full Board on the 28th
February 1939.
The distributors in India of the R. K. O. Radio
Pictures, with an idea of counteracting the agitation
jagainst the picture, submitted it for first censoring
I in India to the Bengal Board, trusting to get an
i;easy passage due to the non-Congress complexion of
the Bengal Ministry.
Filmindia knowing of this manoeuvre at the last
moment addressed an important and confidential
I letter dated 21st February 1939 to the President.
Bengal Board of Film Censors, with the result that
on the 28th February the Board refused to pass the
picture.
Declaring the picture as "NOT SUITABLE FOR
EXHIBITION IN THE PROVINCE" the Board took
particular notice of the following objectionable fea-
tures :
1) Kicking of a Thug by a British Sergeant.
2) Murder by a British Sergeant of a Hindu
while at prayer in the temple.
3) The lashings and torturing of British Ser-
geants in uniform by Thugs in the tem-
ple.
4) The desecration of a Hindu temple by Ser-
geant Cutter by his entry in boots and
uniform and by his riotous behaviour
therein.
5) The scene in which Sergeant Cutter who is
drunk tells another Sergeant of his intention
to loot the temple.
This is what the officials saw in the picture.
"GUNGA DIN".
CONDEMNED IN HOLLYWOOD
"IT IS A DIRTY FILM" say Indians in Holly-
wood—Reports Ram Bagai, our Hollywood Corres-
pondent.
There is a great resentment here among Indian
residents of Hollywood against "Gunga Din", the
R. K. O. — Radio film, which had its premiere the
other day. I invited some of them to see the film
and asked their opinion of it. This is what they
said:
Mr. Abnashi Ram, a merchant: "The film may
be- entertaining so far as the Western audiences are
concerned but to India it does more harm than
good.
Mr. R. Subra: "It is a dirty film showing India
in a very bad light, to me this nullified any enter-
tainment value that it may have had".
Mrs. K. B.: "It seems to me that the story is
weak. It is titled "Gungadin" but it is all about
three soldiers manhandling hundred of Indians and
thus it becomes trite. It is a poor screen story and
definitely bad for India".
I may here state that during the production of the
film suggestions were made by me and others to the
R. K. O. authorities to avoid hurting Indian senti-
ment. To some of these they had agreed but when
I saw the final film I noted no changes. I think
India will have to do the usual thing and boycott it
as "The Drum" was boycotted.
In this connection the following quotations from
Americans Doing "Empire Building" For the British
an official bulletin issued by the R. K. O. "Radio
Studios would just show what type of film "Gunga
Din" is:
"Scenes of Britain's Empire Building "
"A Mile to the West, the golden dome of a vast,
impressive and authentic temple to the goddess
Kali whose sole creed and teaching is "KILL" rears
itself in splendour !! "
"The period of "Gunga Din" is 52 years ago when
England was extending the sway of her Empire far-
ther into the scorched hills of North West India. ..."
"....several hundred Hindu fanatics (members
of the ancient sects of thugs, professional assassins
worshipping the goddess Kali) "
HINDU "MUEZZIN"?
The same official bulletin names five technical
experts who advised on the production of GUNGA
DIN. These are Sir Robert Erskine Holland, Major
Samuel Harris, Captain Clive Morgan, Sergeant
Major Williams Briers (all British) and Madame
Hilda Grenier whose qualification is supposed to be
that she "was in the employ of the Duke and
Duchess of York during extended trip to India in
1900". They were all engaged, it is explained not to
"complicate England's colonial aspirations"!!!
25
FILM INDIA
How well these five "experts" know about India
is revealed by the same bulletin from which I quote
the following:
"It seems Hindus raise beards that are really
something and to be authentic each of the actors
who didn't already sport a considerable growth of
hairsute adornment, had to be supplied with the
same."
"And perhaps in the still desert air will come the
voice of the "muezzin" from the minaret in Tantra-
pur filling the air with Hindu fatalism. .. .What is
written is written."
"Minaret", "Muezzin" and
What an authentic India!!
'Hindu" fatalism!
SCENES OF CRUELTY
The terrible power of films like "Gunga Din" mis-
represent India and slander her people can be gaug-
ed from the fact that it has been acclaimed as a
great box-office hit. Millions of Americans will know
of India from this film. As to the kind of impression
it creates on the cultured American mind, one may
quote from the opinions of certain organizations cir-
culated by the R.K.O. Publicity Department:
GENERAL FEDERATION OF WOMEN'S CLUBS:
"Scenes of cruelty too exciting for the younger mem-
bers."
WOMEN'S UNIVERSITY CLUB: "It carries on
the tradition of Great Britain's supremacy in India"
"For children — too long and violent".
EAST COAST PREVIEW COMMITTEE: "One
cannot help but feel that in these days of actual war
and carnage perhaps the same effort should have
been given to depicting something that would glorify
peace and security."
JEANETTE REX: "As for the story it is a moot
question whether India will enjoy it".
AMERICA WAVES THE UNION JACK
PICTUREGOER (LONDON): "When a patriotic Bri-
tish picture is produced it is too often Hollywood
that does it. "Gunga Din" is a patriotic depiction
April 1939
of the work of the British Army in India Let
us admit at once that it is mostly hokum played in
broad, melodramatic style In brief it is a clfeel
of America waving the Union Jack for us "
NOT TOO SOLEMN WITH THE NATIVES!
NATIONAL BOARD OF REVIEW MAGAZINE: "In
"Gunga Din" they have let themselves go and con-
cocted a lively and two thirds exciting action piece
celebrating, not too solemnly, some of Britain's wa
with the natives of India.
FANATIC NATIVES VS. BRITISH HEROICS
MOTION PICTURE HERALD (AMERICA) : "Gun-
ga Din" is fast, furious and fascinating — a blunt, hard
statement of the Imperial policy that was and may
yet be England's . . .If the film may be likened, ge-
nerically, to any other of known record, that other
would be, "Lives of a Bengal Lancer". Like that
one, this picture places its principal characters at the
mercy of fanatic natives who apply torture to force
revelation of military information The picture
depicts the heroics of those who fought, screamed and
slugged back India into submission to Queen Victo-
ria.
TRIBAL FANATICS & MURDER RELIGION
THE CANADIAN DIGEST: "The film opens with
the massacre of a British patrol on the North West
border of India by tribal fanatics in a revival of the
ancient murder religion of Thugee.
EVEN THE BRITISH WOULD BE BASHFUL!
BRITISH SUNDAY PRESS (LONDON): "Thanks,
Hollywood, for such a fine piece of British propa-
ganda, which we would be bashful to present our-
selves."
IRISH PRESS (DUBLIN): "The picture is based
on a poem by Kipling, the arch -imperialistic jingler of
catchy and famous fines The verdict is — a bril
liant film on a rotten theme."
;
The Thugs (Hindoos) surrounding the brave band of British soldiers in "Gunga Din"— R.K.O. Radio picture.)
26
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"Dushman" a New Theatre picture now running at Krishna Cinema, Bombay,
this famous artiste wins stellar honours.
Filmindia Again On The Floor Of The
Central Assembly
Govt, of India Thinks "Gunga Din" "Harmless" Without Seeing
It And Yet The Bengal Govt. Bans The Picture
Mr. S. Satyamurti Heckles The Hon. Sir Reginald Maxwell
Mr. S. Satyamurti: Will the Honourable the
iome Member please state:
(a) Whether his attention has been drawn to
[f.e article in the columns of the "Film India" of Feb-
liary, 1938, on the anti-Indian film "Gunga Din"
roduced by the R.K.O. Radio Pictures of America;
(b) Whether Government have got any infor-
mation that this film is distinctly anti-Indian; and
(c) Whether Government propose to take any
Ltlon to draw the attention of the British Embassy
I Washington to this film and stop the production
jr the release of this film?
The Honourable Sir Reginald Maxwell replied:
(a) Yes.
(b) My information is that this is not the case
(c) Does not arise.
SUPPLEMENTARY QUESTIONS
EXAGGERATED BUT EXCISIONS HAD TO BE MADE
Mr. Satyamurti: May I know whether my Ho-
ourable friend has perused the article referred to in
ause (a) of the question, and, secondly, what is the
lformation on which he has come to the conclusion
pat this film is not definitely anti-Indian?
The Hon. Sir Reginald Maxwell: In answer to
le first part of the Honourable Member's supple-
mentary question, I have looked through the article
1 question and I think it takes an exaggerated view
f the objectionable nature of the film. With regard
) the second part of his supplementary question, we
ave made unofficial inquiries from the India Office
) find out whether they have examined it. The
onourable Member knows that they take great care
) get into touch with any films likely to be offensive
) Indian sentiment and in this particular case they
ly there is nothing objectionable in it, after a few
ccisions which were made at their instance.
Mr. S. Satyamurti: May I know whether the Gov-
•nment of India have seen or been informed of these
tcisions and are they satisfied now that the film,
s it is to be released, is not anti-Indian?
The Hon. Sir Reginald Maxwell: The Govern-
ient of India cannot see these films at the time of
ie production. I am speaking of their exhibition in
ngland. When they come to India, they come be-
>re the Boards of Film Censors who examine them
ad cut out anything likely to be offensive.
Mr. S. Satyamurti: In view of the fact that anti-
Indian films are more poisonous outside India than
inside India, will the Government of India take some
steps to see that the India Office does examine these
films with these excisions and satisfies itself and
satisfies the Government of India that these films,
with these excisions, are not anti-Indian?
The Hon. Sir Reginald Maxwell: As I have in-
formed the Honourable Member, that has already
been done and the film, as it stands after certain ex-
cisions, is regarded as inoffensive.
Mr. S. Satyamurti: By whom — the Secretary of
State, the India Office, or somebody on behalf of the
Government of India?
JUDGED BY ENGLISHMEN BUT NOT BY INDIANS
; The Hon. Sir Reginald Maxwell: By Officers of
the India Office, who have examined it.
Mr. Satyamurti: Was there any Indian on that
Committee or an Indian present at the examination
of the film? It is a matter of Indian sentiment and
I put it to the Government that they should take
steps to secure Indian criticism of this film? Have
they done sc?
The Hon. Sir Reginald Maxwell: The India
Office represent Indian interests in this matter; and
as the Honourable Member knows, the Government
of India are always very insistent on the point, and
so is the Secretary of State. Not so long ago, I had
occasion to mention it in reference to "The Relief of
Lucknow", the production of which owing to the
action of the India Office was stopped.
Mr. Lalchand Navalrai: May I know if there is
any organization on behalf of the Government of
India or the British Government in America to help
the censors in respect of Indian pictures before they
are sent to England or elsewhere?
The Hon. Sir Reginald Maxwell: I was going to
explain that in answer to the next question on the
paper.
THE "DRUM" BEATEN AGAIN IN THE ASSEMBLY
Mr. S. Satyamurti: Will the Honourable the Home
Member please state:
(a) Whether Government are aware that the
film "Drum" was banned by several Provincial Gov-
ernments some months ago;
(b) Whether Government have taken any action
against the producer of the above film, as the film is
33
FILM INDIA
April 1939
being exhibited in several other countries of the
world; and
(c) Whether Government propose to take steps
to draw the attention of the distributors and the ex-
hibitors of anti-Indian films in other countries, who
are operating in this country, and see that they stop
this propaganda against India in other countries?
The Honourable Sir Reginald Maxwell Replied:
fa) Yes: but a revised version of the film was
passed by the Bombay Board of Film Censors on 20th
October 1938 and, so far as is known, no authority has
taken action against this version in any part of India.
(b) No.
(c) Action is regularly taken in England by the
Secretary of State to secure the modification and, if
necessary, rejection by the Board of Film Censors of
films offensive to Indian sentiment. In America we
have an arrangement by which His Majesty's Consul
at Los Angeles uses his good offices to obtain similar
modification of objectionable films. The action is
usually fruitful and does help to prevent the pro-
duction of films repugnant to Indian sentiment. And
I have no doubt that risk of the loss of the Indian
market also is a considerable deterrent.
ALL THAT GOVT. OF INDIA CAN DO
Mr. S. Satyamurti: With reference to the ans-
wer to part (b) of the question, may I know whether
Government will consider taking some action against
the producers of these films in order that they may
not be exhibited outside India? I can see that so far
as exhibition in India is concerned, there is ample
machinery by means of the Board of Film Censors to
stop them but as regards their exhibition outside
this country, will Government undertake to take ade-
quate steps against the misrepresentation of this,
country by means of films?
The Hon. Sir Reginald Maxwell: Pretty strong
pressure can be placed on these people not to pro-
duce objectionable films because the Board of Film
Censors as a general rule will help the India Office In
securing their non-production or non-exhibition, and
the lead of the Board of Film Censors is usually fol-
lowed throughout the Dominions: and therefore a
film to which serious objection was taken would pro-
bably not be a paying proposition. We can put pres-
sure in that way.
Mr. S. Satyamurti: May I know whether any
steps are taken by the Government of India, or will
they consider the question of taking some steps to
prevent the exhibition of anti-Indian films in coun-
tries outside the Dominions and England — such as
America, Germany, France, etc.?
The Hon. Sir Reginald Maxwell: It is extremely
difficult to take any direct steps against the exhibi-
tion of these films in foreign countries outside the
Dominions? I think the best method to pursue is
the indirect pressure, which we can at present exer-
cise and which does very materially check the produc-
tion of these films, because, if the matter became
worse, we should have to consider other action, but
the matter has been gone into pretty carefully.
Mr. Lalchand Navalrai: May I know if the film
"The Drum" was shown in Delhi and after that there
were objections shown against it and then the owners
had to go away to Ceylon?
The Hon. Sir Reginald Maxwell: I am afraid I
have no exact information.
On the 23rd March His Excellency Sir Roger Lumley the Governor of Bombay and Lady Lumley saw
"Devata" a Huns picture at the West End. Photo taken on the occasion: 2nd from left: Miss Gohar,
3rd from left: Lady Lumley, 5th from left: H. E. the Governor, 2nd from the right: Mr. Baburao Pen-
dharkar, Extreme right: Sirdar Chandulal Shah.
34
ilm floulnalids' Gssociation 0| Qvibia
Sjt. Samaldas Gandhi Inaugurates The 1st Meeting
Baburao Patel Elected The First President
Story, Scenario And Dialogue Writers Can Become Members
A Brotherhood Of Men Who Earn With The Pen
Miss Mendonca And Mr. Abbas Elected Vice-Presidents
"I am very pleased to preside over the first gene-
1 meeting of the Film Journalists' Association of
dia as I feel that our film journalists are doing
eir bit — and a large bit considering their present
tivities — to take our country towards its triple goal
independence — cultural, educational and political."
"Film journalism is a specialized profession and
eeds a precise study of art and its various facets,
ith the present country-wide importance achieved
the Indian film industry, it is proper that the film
urnalists who have been rendering such yeomen
rvices should band themselves together for the com-
on weal without forgetting their obligations to the
dustry and to the country" said Mr. Samaldas
andhi, Editor of 'Janmabhoomi' presiding at the
eeting of the Film Journalists' Association of India
eld at Mubarak Manzil, Fort. Bombay on the 16th
arch at 6 p.m.
A large gathering of local film journalists was
resent for the meeting where the following office
"arers were elected: —
Mr. Baburao Patel (Editor. 'Filmindia') — Presid-
nt.
Mr. K. A. Abbas, (Film Editor. 'Bombay Chronl-
le' i — Vice-President.
Miss Clara Mendonca (Film Editress. 'Times of
dia' and 'Evening News') — Vice-President.
Members of the Executive Committee:
Mr. Jitubhai Mehta, (Film Editor, 'Janmabhoomi')
Mr. P. Venkatram, (Film Editor. 'Bombay Senti-
el')
Mr. Sadik, (Film Editor, 'Hindustan Prajamitra'
nd Hind Praja')
Mr. D. N. Nadkarni, (Film Editor. Free Press of
ndia')
Mr. B. Y. Marathe, (Film Editor, 'Mowj' and 'Pra-
hat')
Mr. Mehr Tarapore, Publicity Manager, Bombay
Talkies Ltd.
Mr. D. C. Shah, (Film Editor, Sunday Standard).
Messrs. Mahomed Nazir, Editor of 'Mussavvir'
and Bakoolesh were elected as Joint Hon. Secretaries
while Mr. D. K. Parker was elected as the Hon. Trea-
surer.
Mr. S. V. Kirparam, Editor of 'Movies', Delhi, was
elected provincial representative for Delhi and U.P.
Mr. Ram Bagai was elected as the Hollywood Re-
presentative of the Association.
Mr. L. C. Bhalla, Editor of 'Movieland', was
elected as provincial representative for Hyderabad and
South, while Mr. Chandrashekhar, Editor of 'Dipali',
was elected to represent the Association in Bengal.
Mr. B. R. Oberoi, Editor of "The Cinema", La-
hore was elected as representative of the Association
in the Punjab.
Mr. T. H. Suntoke B.A. (Hons.) LL.B., was ap-
pointed the Hon. Legal Adviser to the Association.
Mr. P. C. Bhagwat was appointed as the Hon.
Auditor.
The Aims and Objects
(1) The safeguarding of the
profession;
interests of the
(2) The creating of a congenial atmosphere for
more and better Indian Pictures through the medium
of constructive criticism and comment calculated to
improve the general standard;
(3) To impress upon the Central and Provincial
Governments of the country the vast potentialities
of the film as a medium of entertainment and edu-
cation and publicity which could suitably be harness-
ed to carry India's message of goodwill, culture and
progress abroad;
(4) To aid in utilizing the film as a medium of
better and closer understanding between communi-
35
FILMINDIA
April 193!
ties, races and nations, and to foster an atmosphere
of tolerance;
(5) To counter insidious anti-Indian propaganda
insistently spread by foreign producers, and by every
constitutional means at its disposal, to render im-
possible the production, distribution and an exhibi-
tion of anti-Indian films both in India and overseas,
and to take and adopt all measures to enhance India's
prestige and respect for her institutions and culture
in the eyes of other nationals;
(6) To collaborate or merge with sister organi-
zations in India and overseas with a view to ex-
change topics of common interest and advantage, and
to propagate and publicise mutual literature and re-
search activities;
(7) To endeavour and secure a better and more
lasting understanding between the various units en-
gaged in the vast enterprise of film production in
India, while maintaining a strict and unbiassed view-
point of appraisement unto itself;
(8) To issue and circulate bulletins, press re-
ports, journals for the better and keener interest of
the public in matters of routine and of moment of
the Indian Film Industry and to maintain a well-
stocked library of books dealing with the technical
and fan side of the Industry.
Membership
The Association shall admit to membership froir
time to time writers on matters and aspects pertain-
ing to the Indian Film Industry, as also those engageci
in writing scenarios, scripts for shooting films, filn
publicity materials, whose avowed object it is t(J
actively promote the interests of the film industry ir
India:
The scale of fees
under: —
for membership shall be a;
PATRONS: Those paying Rs. 5001- and over shal
be admitted as Patrons of the Association.
LIFE MEMBERS: Those paying Rs. 50]- shall bi
enrolled as Life Members.
INDIVIDUAL MEMBERS: Those paying an An
nual Subscription of Rs. 5|- in advance or annas 8|
monthly, shall be admitted as members of the Asso-
ciation.
FIRM MEMBERS: Firms engaged in the filn
journalistic trade shall pay a fee of Rs. 20|- annuallj
for membership of the Association through their re
presentative.
The Head Office of the Film Journalists' Assocla
tion will be at 'Mubarak Manzil'. 104, Apollo Street
Fort, Bombay, where application for Membership cai
be made.
)W1SS
Mad(
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W1SS
Mad(
Model NSB
without Volume Control
Price Rs. 9
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Model NSBP
with Volume Control
Price Rs. 12-8
Do you want to use your Gramophone in connection with a Wireless set? Then just replace th .- soundbox
with one of PAILLARD'S PICK-UP HEADS and you will get a perfect reproduction on your Radio
It is a PA'LLARD PICK-UP HEAD which makes you enjoy most your favoured records, because cf the
fineness of its reproduction which embraces the whole scale of the musical vibrations. Such pick up head,
of Paillards is cheap and reliable, just listen to one and you will not fail to buy it.
Ask for details to-day. Remember IT IS CHEAP.
I N "1 EENA T I O N A L JE A D I O GO.,
Dina Building. Opp. Marine Lines Station, Queen's Road. Bombay
36
rhere is a Pirelli Tyre for every Purse and Purpose
From a high-grade DeLuxe Type to the most economical type.
EUER1J liBEta CTQRE IS SOLD UT1DER A IDRITTEU QUARANTEE
SOLE DISTRIBUTORS
Wl MM N I2UI I I I \- n i 1 GO,
Telegrams: "IBACH
380A, LAMINGTON ROAD, BOMBAY-4.
Telephone: 42156 I
]
Bhavnani Productions
Present a stirring sequal to their Epoch making
Picture "Zambo" in
[ Under Production]
IF
A mighty spectacle of the Jungles
BIG IN EVERYTHING
THEME - SCENES - LOVE - EMOTION - MUSIC &■ COMEDY
Direction and Scenario by: — M. BHAVNANI
I Booking and
I'/lc/t/ Rights :
prgreen Pictures
Saklat Hou>«,
5, N*w Ounm Road,
BOMBAY 4
21952 •
(?asf JPncfudes '.
BIMLAKUMARI, NAVIN YA6NIK, Nyampally. Sunitadevi, Yatsala Kumthehar.
Fattyprasad, Gyani. Sheikh, Gulzar, Kishore and others.
se/
NEW RECORDS IN JUNGLE PICTURES
COMING SHORTLY
SUMMER DAYS ARE HERE AGAIN!
Install
blow the
"Fans" and
heat away
D. C.
INDIA
K O II 1 A s
TARA
A. C.
BHA RA1
TARA
BETTER BREEZE AT HALF THE COST
Use /. E. W.'s Famous Low Current
»ADY HOUSE. LONDON
rhe running of the
n is exceedingly
iet.
rhe consumption
the Fan is small,
rhe body of the
itor felt barely
_ rmer than the air.
rhe general per-
rmance of the Fan
in our opinion very
od.
Consumption Fans
TARA (Table)
Department of PhyiicJ
MUSLIM UNIVERSITY
Aligarh
INDIA FAN
BIHAR 4 ORISSA ELECTRICAL
DIVISION
The "India" Fan is one
of the best fans of similar
sweep and consumes about
40 per cent, of electrical
energy. It is silent run-
ning Fan and its commu
tator is sparkless.
This is to certify j
that Bharat Fan you i
supplied to us is j
working very well. It j
has given all round ;
satisfaction in differ-
ent tests. The quality
of this Indian Manu-
factured Fan is se-
cond to none.
GOVERNMENT OF BENGAL
ELECTRICAL ADVISOR
The patent fans of. . . .
(India Fans) are by far
the most efficient Fans I
have ever had for test.
They give slightly better
breeze than the best known
fans of similar sweep but
consume only 33 per cent
to 42 per cent electrical
energy.
bhc only Qndian Sans thai have received showers o\ praises throughout Qndia \
Head Office ami
Factory:
Bombay Branch :
25. SOUTH ROAD.
EN TALLY
CALCUTTA.
India Electric Work Ltd.
6, Sir Pherozjhari Merita Road.
FORT, BOMBAY. Phone: 34205 I
3ra*skcK CAWNPORE - MADRAS - DELHI AND LAHORE
TARA (Pedestral)
This is an abridged copy of the pre}
CINE FINANCE & BANKING
Capital Rs. 1,00,00,000
Divided into
190,000 preferred ordinary
shares of Rs. 50 each
Rs. 95,00,000
and
500,000 deferred ordinary
shares of Re. 1 each
Rs. 5,00,000
The Preferred Ordinary Shares
are entitled to a preferential divi-
dend at the rate of six per cent,
per annum from out of the pro-
fits of any one year on the amount
paid up or credited as paid up
on their shares and thereafter all
shareholders of either denomina-
tion shall rank equally in the dis-
tribution of any profits available
for distribution. In the event of
a winding up or sale of the Com-
pany's assets the Preferred Ordi-
nary shareholders shall be entitl-
ed to preferential distribution to
the extent of the sum paid up or
credited as paid up on their shares
and thereafter all shareholders of
either denomination shall rank
equally in the division of any
surplus assets. Subscriptions for
Preferred Ordinary shares are
payable: on application, Rs. 10:
on allotment, Rs. 10 and Rs. 30
on call after an interval of not
less than two months.
The Preferred Ordinary Share-
holders are entitled to one vote
for each share and the Deferred
Ordinary Shareholders to one
vote for every twelve shares held.
It should be noted that under
the terms of the Prospectus the
managing agents receive no par-
ticipation whatsoever in the pro-
fits of the Corporation, other than
that participation which will ac-
crue to them directly as a result
of their successful management,
by virtue of their holding of De-
ferred Ordinary Shares under the
purchase agreement. They there-
lore, can receive no participation
in the profits until after the sub-
scribers to the cash cavital have
received a dividend at the rate of
six per cent, per annum, and even
then, the 3hares held by the ma-
naqinq agents will rank PARI
PASSU with the shares held by
the subscribers in cash to the ca-
pital of the Corporation.
DIRECTORS
Lieut -Col. SIR RICHARD TEM-
PLE. Bart., D.S.O., Director of
the Bombay Talkies, Ltd., Khot
Bungalow. Malad. Bombay Subur-
ban District, (Chairman.)
SIR DHANJISHAH BOMANJI
COOPER, Kt., J.P., M.L.A., Ex-
Revenue & Finance Member,
Govt, of Bombay, Managing Di-
rector: Cooper & Co., Ltd., Satara;
Hindusthan Engineering & Imple-
ment Co., Ltd., Satara. Director;
Mysore Chemical & Fertilizers
Ltd., Mysore; The Mysore Glass
& Enamel Works Ltd., Bangalore.
SIR KAILAS N. HAKSAR, K.C.
I.E., LL.D., Prime Minister, Bika-
ner State, Bikaner; Director, East-
ern Federal Union Insurance Co.
of Calcutta; Model Building Cor-
poration, Delhi; Nerbudda Valley
Refrigerator Products Co., Bho-
pal; Delhi Safe Deposit Co., etc.
Rao Bahadur D. A. SURVE, Prime
Minister, Kolhapur, Chairman,
Vikram General Assurance, Ltd.;
Director, The Bank of Kolhapur,
Ltd.; The Kolhapur Sugar Mills,
Ltd.
Rajya Bhushan Rai Bahadur
KANHAIYALAL BHANDARI,
Eanker and Mill-Owner, Indore.
MATHHRADAS T. ASSOMULL,
Partner, Wassiamull Assomull &
Co., Bankers, Bombay.
Rai Bahadur NARAINDAS PO-
HOOMULL, Partner, Pohoomull
Bros., Bankers, Bombay.
SHETH TRIKAMLAL GIRDHAR-
LAL, President of the Federation
of Baroda State Mills and Indus-
tries; Director, The Baroda Spg.
& Wvg. Mills, Ltd., New Baroda
Mills Co.. Ltd.. Maneklal Harilal
Mills, Ltd., Ahmedabad, Sidhpur
Mills Co., Ltd., Sidhpur, Lokseva
Press & News Paper, Ltd., Baro-
da.
RANGILDAS VARAJDAS
KHANDWALA, Esq., Surat, Di-
rector, Bombay Alliance Assur-
ance Co., Ltd., Udwada Wapi
Electric Co., Ltd.. Surat Banking
Corporation, Ltd., Member, Advi-
sory Beard, Central Bank of In-
dia. Ltd., Surat.
Rao Bahadur RAMNATH SWA-
MINATHA AIYAR. Retired Dy.
Chief Accounts Officer, G.I.P.
Railway, Bombay.
ARCHIE ROWLAND THOMAS,
Esq., Barrister-at-Law, Taj Ma-
hal Hctel, Bombay.
MIRZa RASHID ALI BAIG,
Esq.. Merchant, Rabia Mansions,
Worli Point. Bombay.
BANKERS
Hongkong & Shanghai Banking
Corporation; Bank of India Ltd.
SOLICITORS
Messrs. Madhavji & Co., 33, Mea-
dow Street. Bombay.
( Incorporated um
AUDITORS
Messrs. S. B. Billimoria & Co.,
113, Esplanade Road, Bombay.
Messrs. Natwerlal Vepari & Co.,
Churchgate St., Bombay.
MANAGING AGENTS &
REGISTERED OFFICE
Sirarty, Limited, Merchant Ban-
kers, Nanjee Building, Elphin-
stone Circle, Fort, Bombay.
PROSPECTUS
The Corporation has been form-
ed with the objects specified in
the Memorandum of Association
and in particular to contribute to
the co-ordination of the various
branches of the Cinematograph
Industry in India, the organisa-
tion of its essential services and
the rationalised development of
the industry as a whole. The Cor-
poration's activities will be de-
partmentalized in a series of com-
panies which the Corporation it-
self will finance and control.
Each of these companies will be
conducted by experienced execu-
tives, as set out hereunder:
PRODUCTION:
Cine Producers of India, Limit-
ed, financed and controlled by
Cine Finance & Banking Corpora-
tion of India, Limited, will pro-
duce films in India, primarily for
the Indian market and secondari-
ly for the International market.
It is proposed to organise and
control moving picture produc-
tion in various centres as and
when, in the opinion of the Di-
rectors, suitable opportunities
arise. This will be done either by
financing existing production-
units of proved experience and
capability; by contracting with
such units, or by underwriting the
share capital of companies for
the purpose, beginning with Bom-
bay.
SERVICING:
Cine Services of India, Limited,
financed and controlled by Cine
Finance & Banking Corporation
of India. Ltd.. will fulfil an urg-
ent need by the servicing of film
studios throughout the whole of
India. There is no existing or-
ganisation of its kind and studios
are constantly embarrassed and
put to considerable expense by
the lack of expert technical as-
sistance in dealing with plant
and laboratory troubles. It is
economically impossible to carry
the necessary equipment efficient-
ly to undertake this work inde-
pendently for each studio; but
the proper maintenance of each
and every studio in India can be
the Registrar of Companies, Bombay. )
ORATION OF INDIA, LIMITED.
ompanies Act of 1913 )
undertaken cheaply and efficient-
ly by a special organisation pro-
perly equipped for this work
alone.
This innovation should be wel-
comed by the entire industry and
at the same time will prove an
important and immediate source
of revenue.
DISTRIBUTION:
Cine Distribution of India, Li-
mited, financed and controlled by
Cine Finance & Banking Corpo-
ration of India. Limited, will com-
bine the functions of '"Renters"
and "Exhibitors '. They will en-
ter into renting contracts with
their own associated producing
organisation and also with out-
side producers, and distribute the
films they control under those
contracts through their own cir-
cuits and among exhibitors out-
side.
These circuits will be built up
by building, purchasing, renting
or otherwise conti oiling Cinema
Houses of all grades throughout
India.
A properly capitalised Distribu-
tion Company is greatly needed
in India and when combined with
exhibiting, as in this instance, is
very remunerative.
PUBLICITY:
Cine Publicity of India, Limit-
ed, financed and controlled by
Cine Finance & Banking Corpora-
tion of India, Limited, is a Depart-
ment of this organisation which
also, from the outset, can confi-
dently expect highly remunera-
tive support by merchants, ship-
pers and traders all over the
world. Publicity and Advertising
by means of the Film is in its
infancy, but its powerful appeal
is realised more and more every
day. This phase of the Corpora-
tion's activities is capable of very
great expansion.
TRAINING:
Cine Academy of India, Limit-
ed, financed and controlled by
Cine Finance & Banking Corpora
tion of India. Limited, is a Depart-
ment of the organisation that has
been received with enthusiasm
not only by National and other
leaders of all shades of opinion,
but by educationalists and econo-
mists everywhere.
There is a lamentable shortage
of every class of technician and
expert required by the Cinema
industry in India. So acute is the
need for trained technicians that
it is not yet possible for the Gov-
ernment and other responsible
authorities to introduce legisla-
tion for the safety of the public,
such as that in operation in other
parts of the world.
The need for all classes of pro-
perly trained technicians in the
Cinema industry in India is, in-
deed, unlimited. It is a trade ca-
pable of absorbing in every one
of its highly technical branches
large numbers of educated unem-
ployed and of paying them a de-
cent wage.
This academy will fill a long-
felt need and can be made remu-
nerative.
BUYING AGENCY AND
INSURANCE:
Cine & General Agencies, Li-
mited, financed and controlled by
Cine Finance & Banking Corpo-
ration of India, Limited, will, un-
til the present law concerning in-
surance in India, has been clari-
fied, place all insurances arising
out of the activities of these vari-
ous companies, and in addition,
will act as purchasing agents, con-
tractors, etc., thus effecting con-
siderable savings and consequent-
ly ensuring for the Corporation
greatly increased profits.
PROSPECTS & PROFITS:
It will be realised from the
above summary that all the un-
dertakings of Cine Finance &
Banking Corporation of India. Li-
mited, will be strictly departmen-
talized, each in the hands of ex-
perts, who will be responsible to
separate boards of directors spe-
cially selected for their useful-
ness in the respective branches of
the industry.
The Corporation will be strong-
ly represented on the Boards of
all the companies operating the
various departments, and by vir-
tue of their voting power will
exercise effective supervision and
assure a proper co-ordination of
all activities.
It will be immediately appar-
ent, therefore, that this organisa-
tion, profiting by a world ex-
perience of the past, is funda-
mentally based, .from the very
outset, on this principle of proper
co-ordination. It is a policy
proved by long experience the
world over, to result in sound and
profitable trading.
Indeed, it is conservatively esti-
mated that in one Department
alone, that of Distribution, the re-
turn can be sufficient to pay ex-
cellent dividends on the whole
share capital of the Corporation.
A series of issues of shares will
be made to the public in the De-
partmental Companies when, in
each case, the whole of the un-
derwriting will be undertaken by
the Corporation, and the Corpora-
tion's funds, as and when releas-
ed from the underwriting con-
tracts, will be available for the
Cinema industry and general
Banking purposes, the acquisition
and control of further Cinema
Houses, etc. — safe and profitable
investments, especially in view of
the fact that every Branch of the
undertaking is under its direct
control. Incidentally it may be
noted that the underwriting com-
missions thus earned should in
themselves be sufficient to assure
a profit to the Corporation capa-
ble of providing a dividend in its
first year's working.
Experts will be engaged for all
branches of the enterprise.
STATUTORY INFORMATION:
The minimum subscription on
which the Directors may proceed
to allotment is fixed at shares of
the nominal value of Rs. 5,00,000.
Exclusive of over-riding and
under-writing commissions, bro-
kerage, etc., the preliminary ex-
penses, inclusive of legal expen-
ses and promoters' remuneration
and part consideration for the
purchase of the scheme specified
in the contract hereinafter men-
tioned, shall be one-and-a half
per centum of the capital of the
companies.
The qualification of a director
other than an alternate director,
is the holding in his name of
shares of the Corporation of the
aggregate value of Rs. 2,500.
The remuneration of each di-
rector will be such fee, not ex-
ceeding Rs. 75 for the chairman
and Rs. 50 each for other Direc-
tors, as may be fixed by the Di-
rectors for every meeting of the
Board attended by him, if paid
by the meeting, or if paid other-
wise, not exceeding Rs. 150 per
month for the chairman and Rs.
100 per month for each director,
in addition to the travelling and
other expenses incurred by him
in connection with the business of
the Corporation.
The management of the Corpo-
ration will be vested in S1RARTY,
Limited, Merchant Bankers, sub-
ject to the supervision of the
Board.
Every holder of a share of the
Company not otherwise disquali-
(Continued on page 46)
The SCENTINEL Air-Condltlonlng Box
Purifies Every Home at a small initial
cost of Rs. 7-8 and guarantees
Health, Happiness and Better Life
• Unbreakable
• Thief Proof
• Trouble-f r«»e
• It. -Mil* at
Nominal Cost
The SCENTINEL
AIR CONDITIONING BOX
(As used in British Hospitals, Town Councils, Etc. >
GUARDS YOUR HEALTH
PURIFIES, DEODORISES, REVITALISES
Banishes odours, prevents infection, and brings a Spring
morning freshness indoors.
DEFINITELY A REVOLUTIONARY INVENTION
• SCHOOLS, PUBLIC HALLS, CINEMAS, ETC.
The Scentinel should be fixed at intervals around
walls, under seats, etc.
• MOSQUITOES, FLIES, ETC. The Scentinel keeps
these pests away. Effectively, Pleasantly.
0 MOTH. The Scentinel keeps wardrobes, hanging
cupboards, etc. absolutely free from moth.
THE TRIO TRADERS,
(DEPT. F)
IMPERIAL CHAMBERS, BALLARD ESTATE, BOMBAY
Post Box : 120
Telephone 34027 Telegram* 'OZONE'
"RO^AL" Jewel No. 8
mOTHER-HIDM
INDIA CINE PICTURES' MAIDEN RELEASE IN
NATURAL COLOURS
• SHARIF FA
• SUSHEELA
• PR AM IL A
• LAXMEE
• GULAM M OH AM E O
• ASHIQ HUSSEIN
• W. M. KHAN
• AN ANT MAR A J HE
India's First Picture
on Motherhood
•
Running to House-Full
Audiences in the
11TH WEEK
Admired, Appreciated and
Acclaimed by One and All
by every community
Hindus, Parsis, Muslims,
Jews, Europeans alike.
ROYA1 OPERA MOUSE, BOMBAY
For Bookings Apply to: ROYAL FILM CIRCUIT, Bombay-4
How the Libel Against India is Spread!
Joy Scouts— Schools -Colleges— Students— All Invited to See "Gunga Din"— Training
the Future Generations to Look Upon Indians as "Sadistic Barbarians
And Dogs"!
The British Royalty (The Duke and Duchess of Gloucester) Does Its
Bit to Drive the Last Nail Into the Coffin of India's Self-Respect !
Awhile Indians Are Struggling to Break Their Shackles of Foreign Bondage Millions
Rush to See India's Shame Broadcast On The World Map!
While Indian Producers Flirt With Foreign Distributors In India At "Get-
to gether" Parties, Their Nation Is Blackmailed In The Eyes of the World!
"WAzie. Witt JMl Rtachnail &lop"'> Adh JitmLndLa
We give belcw exi-racts from the
vo leading papers of the West,
lowing how "Gunga Din" that
:andalously anti-Indian picture is
;ing sold in the World-markets:
lie Cinema
(London)
1939:
8th March
"The stupendous business ac-
omplished by "Gunga Din" at the
aumont reached a high peak over
he week end. breaking all existing
cords for the theatre."
"The Gaumont on Saturday and
iunday, presented a remarkable
pectacle. Huge crowds, gatherng
t regular intervals during the day,
ompletely surrounded the theatre
nd it is estimated that the
ueues at times stretched for over
ne-third of a mile Many
ousands of people were unable
gain admittance to the theatre."
The Royalty Does lis Bit
"Given a great send-off by a
avish premiere, honoured by the
iresence of the Duke and Duchess
f Gloucester and heralded by the
National press, "Gunga Din" Is
expected to become the greatest
box-office winner."
Motion Picture Herald (New York)
Feb. 25th
'Over 350 public, high and
Technical Schools in Detroit were
covered in advance on "Gunga
Din" as a result of the special
screening held for the Superin-
tendent of Schools, other Educa-
tors and local prominents."
The British Consul's Part In It
"Another screening, reported to
have brought further assistance,
was given for the British Consul,
who gave direct publicity where it
would do the most good to the
American Legion, Daughters of
the British Empire and other Bri-
tish Societies in that area "
"In New Orleans co-operation
and endorsement from important
personages and organizations were
derived through addresses to
schools, clubs, etc."
"Gunga Din"— A Book Mark for
Boys
"Four-day newspaper contest to
find ten unsung heroes or heroines
was staged for the Boston run or
"Gunga Din". Each winner re-
ceived a solid silver medal and
was written up in the Boston
"Traveller".
"Colleges and schools within a
25-mile radius were contacted, lib-
raries used book marks. ..."
Minds of Boy Scouts Poisoned
"A mammoth sign painted in
soft coal dust over snow capped
mountains in Denver drew atten-
tion to opening of "Gunga Din" at
the Orpheum."
"Manager Mickey Gross contact-
ed the Boy Scout Organization and
sent special letters to Scout Mas-
ters. Handbills were distributed to
all members through the Highlan-
der Boys Organization and stills
displayed an armory and canteen
bulletin boards.
45
CINE FINANCE & BANKING
CORPORATION OF INDIA,
LIMITED
(Continued from page 41)
fled by any of the articles of the
Corporation and who has been
duly registered for three months
previous to the General Meeting
shall be entitled to be present
and to speak and vote at such
meeting and shall on a show of
hands when present in person or
on a poll when present in person
or by proxy have one vote in res-
pect of every Preferred Ordinary
share and one vote in res-
pect of every twelve Deferred
Ordinary shares held by him in
the Company three months previ-
ous to the General Meeting.
The maximum commissions lo
be paid by the Corporation to
cover underwriting and over-rid-
ing commissions, brokerage, and
any other commissions for or
in connection with the procura-
tion of capital shall not exceed 5
per cent.
Sir Richard Temple and Mr. A.
Rowland Thomas, will be life di-
rectors of the Corporation, and are
interested in a contract set out
herein as directors of Sirarty,
Ltd., the Managing Agents.
CONTRACTS:
Articles of Agreement made and
entered into the 28th day of Feb-
ruary, 1939, between Cine Finance
and Banking Corporation of In-
dia, Limited of the one part and
Sirarty Limited of the other part
whereby the said Sirarty Limited
are appointed the Managing
Agents of the said Cine Finance
and Banking Corporation of In-
dia Limited for a period of 20
years at the monthly remunera-
tion of Rs. 4,000, free ox income
tax, and it is provided that ah
office staff, and other expenses in
and out of India incidental to the
carrying on of the business and
affairs of the said Cine Finance
and Banking Corporation of In-
dia Limited and also of the Ma-
naging Agency shall be defrayed
by the said Cine Finance and
Banking Corporation of India,
Ltd.: and it is further provided
that in consideration of the issue
and allotment by the said Cine
Finance and Banking Corporation
of India Limited as fully paid of
the whole deferred ordinary share
capital of the said Cine Finance
and Banking Corporation of India
Limited of the face value of Rs.
5,00,000 1 - to the said Sirarty Li-
mited and also' 'in consideration
of the payment of H% of the
Capital of the said Cine Finance
and Banking Corporation of In-
dia Limited and also of the seven
other Companies intended to be
got registered the said Sirarty Li-
mited agree and undertake at
their own expense to cause to be
registered the said Cine Finance
and Banking Corporation of In-
dia Limited and the said seven
other Companies above referred
to and to defray all legal and
other prelminary expenses other
than over -riding and underwrit-
ing commissions, brokerage, etc.,
in connection with the said regis-
trations and the said Sirarty, Li-
mited, further agree for the same
consideration to sell to the said
Cine Finance and Banking Cor-
poration of India Limited all
rights undertakings and properties
whatsoever held by the said Si-
rarty Limited from Sir Richard
Temple Bart., and Archie Row-
land Thomas in their Scheme for
organising and financing film pro-
duction, servicing, distribution,
etc., in India as well as abroad
and for the same consideration
the said Sirarty Limited shall also
transfer and assign to the said
Cine Finance and Banking Cor-
poration of India Limited the de-
ferred shares accruing to the said
Sirarty Limited in the said seven
other companies as fully paid
shares. By the said Articles it is
further agreed that if the said
Sirarty Limited fail to get regis-
tered any one or more of the said
seven Companies the said Sirarty
Limited shall refund to the said
Cine Finance and Banking Cor-
poration of India Limited \\% of
the Capital of such Company or
Companies as the said Sirarty Li-
mited may fail to get registered
within one year.
Articles of agreement made
and entered into between the said
Sirarty, Ltd., and the said Cine
Finance & Banking Corporation of
India, Ltd., and memorandum and
articles of association can be ins-
pected at the office of the Com-
pany's Solicitors, Messrs. Madhav-
ji & Co., during office hours.
(Signed)
Richard Temple,
Dhanjishah Bomanji Cooper,
Kailas N. Haksar,
D. A. Surve,
Kanhaiyalal Bhandari,
Mathhradas T. Assomull,
Naraindas Pohoomull,
Trikamlal Girdharlal,
Rangildas Varajdas Khandwala.
Ramnath Swaminath Aiyar,
Archie Rowland Thomas,
Mirza Rashid Ali Baig.
4
The poor Indian (a "native" of course) humbly awaiting the order oi the White Men. .This is how that
libel on India, "Gunga Din" was shot by R.K.O. Radio Pictures of America.
46
Vict
es an
a ?2
eivs
BABURAO PATEL,
President.— Designate of the Conference
Acting upon the joint represen-
tation made by the Film Editors
of the following leading papers:
"Bombay Chronicle", "Bombay
Sentinel", "Janmabhoomi", "Free
Press", "Hindusthan Praja Mitra",
"Hilar, "Al Hilal", "Al Islah", "Cara
van", "Bombay Samachar", "Jame
Jamshed", "Sanj Vartman", "Mowj",
"Hilal," "Al Hilal", "Al Islah",
"Inquilab", "Prabhat", "Cinema
Fan", "Chitra", "Pratod" etc.,
from Bombay and "Movies",
"Nigaristhan", "Nawai Watan" and
others from Delhi, the Executive
Committee of the Indian Motion
Picture Congress elected Mr. Babu-
rao Patel, Editor of "Filmindia"
as the President of the Indian
Film Journalists' Conference to be
held on the 23rd April under the
auspices of the Congress.
Historic Film Lunch
Sunday 12th March 1939 esta-
blished a new milestone in the
history of our films and our film
people. Exactly 433 persons from
the film industry from different
parts of India - producers, direc-
tors, artistes, studio workers, jour-
nalists, distributors and exhibitors
for the first time assembled for
a Grand Community Luncheon at
the Taj Mahal Hotel, Bombay.
note in the Sardar's speech was
very well received by the people
present.
Other speakers included Sir
Richard Temple, Mr. B. G. Horni-
man, Miss Naseem, Mr. Prithvi-
raj, Mr. B. M. Tata and Mr.
Pande.
Rai Saheb Chuni Lall in a neat
little speech thanked the President
Sir Rahimtullah Chinoy presid-
ing said that it was an eye opener,
even to him, and to several, to
see the enormous gathering, fully
representative of all the various
interests, feeling like one man for
the progress of the industry.
When the foreign producers realize
this strength of unity, they will
stop producing anti-Indian pic-
tures, which are offensive to
Indian sentiments.
Addressing the workers, Sardar
Chandulal Shah, the Chairman of
the Reception Committee, said "you
are the real bosses of the industry
and not the dozen and odd men
who run the studios". The socialist
Mr. Chandrakant B.A , appears in
Mohan Pictures
and thus ended a historic lunch.
Postponed to the 23rd April
It is a foregone conclusion that
the Indian Motion Picture Con-
gress and the Silver Jubilee cele-
brations will be a huge success
seeing the general enthusiasm
prevalent among the film commu-
nity. The extraordinary prepara-
tions necessitated postponing the
programme a little further. The
revised programme is as follows:
PROGRAMME
Sunday, the 23rd April 1939
Morning: Indian Film Journa-
lists' Conference.
Evening: Indian Educational
Film Conference.
Monday, the 24th April 1939
Morning: Indian Distributor's
Conference.
Evening: Indian Exhibitors' Con-
ference.
Tuesday the 25th April 1939
Morning: Indian Cine-Techni-
cians' Conference.
Evening: Indian Cine- Artistes-
Conference.
Wednesday, the 26th April 1939
SUBJECTS-COMMITTEE
MEETING
Thursday, the 27th April 1939
SUBJECTS-COMMITTEE
MEETING
Friday, the 28th April 1939
SILVER JUBILEE DAY
Opening of the Exhibition.
Saturday, the 29th April 1939
CONGRESS DAY
Morning: Congress Sessions.
Evening: Congress Sessions.
Sunday, the 30th April 1939
Morning: Congress Sessions.
Evening: Procession and Garden
Party.
ACADEMY AWARDS FOR 1938
The whole motion picture indus-
try and the millions of picture-
goers all over the world eagerly
await the annual decision of the
Academy of Motion Arts and Sci-
ences as to what was the best pro-
fessional production, artistic or
scientific achievement during the
year. The nominees of these
achievements are awarded a gold
statuette; called by the trade "Lit-
tle Oscars" as a souvenir.
The following are the awards for
1938: —
Best Actor: Spencer Tracey in
"Boys Town".
47
FILMINDIA
April 1939
Best Actress: Bette Davis in "Je-
zebel".
Best Supporting Actor: Walter
Brennan in "Kentucky."
Best supporting Actress: Fay
Bainter in "Jezebel."
Best Director: Frank Capra "You
Can't Take It With You".
Best Screen Play: G. B. Shaw.
"Pygmalion".
Best Picture: "You Can't Take It
With You."
Spencer Tracy won the award
last year for "Captains Courage-
ous," Bette Davis won it in 1935
for "Dangerous", while Walter
Brennan won the best supporting
award in 1936 for his work in
"Come and Get It". Fay Bainter
incidentally was also nominated
for the best actress award for
"White Banners."
STOP PRESS
filmindia
Gauses fiicj Ztyloal in Hollywood
RAM BAGAI CABLES FROM HOLLYWOOD
Mr. Patel, your February issue of Filmindia — causing
Big uproar in Motion Picture Industry in Hollywood.
America interested in knowing and learning the truths
about India through efforts of your periodical. Suggest
that you send more copies of your magazine for distribu-
tion to Hollywood big-wigs. Positive that India's objec-
tions to defamation will cause change in films hereafter
dealing with India. Am sure that though efforts of your
magazine and its distribution here will aid in the proper
understanding of India in future. Hereafter please send
more copies of 'Filmindia' every month that deal with dis-
cussions on "Gunga Din" and the like.
RAM BAGAI
Filmindia's Hollywood Correspondent.
Anotlier Box-Office Stormer!
RETMI PMiKRR
PRODUCED BY "ARUN PICTURES "
THE STIRRING EXPLOITS OF
SHIVAJI'S RIGHT HAND MAN
*
Story and Direction by
I) I ml G. Pendharkar
*
Starring
La I it a Pawar 'crhe Firefly'
&
Master VitHal 'Indian Douglas"
For Booking Apply to :
ARUN PICTURES
KOLHAPUR
4H
Round the Town
" Dushman " Doesn't Suffer From Tuberculosis !
Sulochana Graces The Screen Again !
Chowdhary Gives Another One In " Its True " !
Sabita Fails In " Ladies Only " ?
"DUSHMAN" (The Enemy)
Producers : New Theatres Ltd. -
Scenario, photography and direction
Nitin Rose - Audiography : Mukul
Rose - Music Direction : Pankaj
Mullick - Dialogues and Songs:
Arzu - Art Direction: Arjun Ray,
Sen and Roy - Cast: Saigal, Pri-
thviraj, Najam, Leela Desai, Deo-
bala Nemo, Jagdish Sethi and
others - Released simultaneously
at: Excelsior and Krishna, Rombay
- Date of Release: 24th February
1939.
The name "Dushman" is clearly
an after thought. The producers
must be having good reasons to
name this straight and simple love
yarn thus and throw on it a trans-
parent shadow of propaganda. Tt
is whispered that the picture is an
anti-tuberculosis propaganda, sub-
tly portrayed to make it merely
suggestive and thus more instruc-
tive, undertaken at the request of
Lady Linlithgow. Having no evi-
dence to the contrary we believe
this carefully organized rumour,
but fail to find much of the "sup-
posed subtle propaganda" in the
picture. A couple of scenes, where
the talk is a bit prolonged, admit
some tuberculosis "germs" into the
story, but beyond that the picture
doesn't suffer from either pulmo-
nary or any other type of tuber-
culosis.
The Story : A simple love tale !
Gita the daughter of a rich Ral
Bahadur falls in love with Mohan
a radio singer and makes no secret
of it. Her mother, ambitious and
anxious, wants her to marry Dr.
Kedar. a young physician with a
big future. Dr. Kedar and Mohan
are great friends. One day Mohan
learns of the plans of Gita's
mother to give Gita to Dr. Kedar.
Mohan misunderstands Gita in
•spite of her remonstrances and
52
goes away sick and heartbroken.
Dr. Kedar doesn't know of Mohan's
attachment to Gita and is uncon-
sciously instrumental in sending
Mohan away. With tuberculosis
in his lungs and love in his heart,
Mohan is admitted into a T. B.
Sanatorium, where after a time he
is cured. The climax arrives as
expected - Mohan sings on the
radio - Gita hears and rushes to
him in a motor car - Dr. Kedar
pursues her - the inevitable motor
accident - Hospital bed - meeting of
the lovers - "supreme" but uncon-
vincing sacrifice of the friend -
and a real good happpy ending, to
meet the most optimistic demand
of the world's dream lovers.
I forgot a scene. It is the
"Storm Scene" which one cannot
miss in our pictures, whether the
plot is social, mythological or non-
sensical. This time the "Storm"
came as suddenly as usual to
satisfy the ambition of the direc-
tor to give us a piece of "clever"
symbolism. This "cleverness" Is
being repeated so many times, that
it would be really clever to drop
the "Storm" for once and surprise
the audiences.
Acting : For the first time 1
saw Saigal acting and liked him
for it. In several places he has
given polished work. Now that our
most melodious singer has started
to act we can look forward to
some really good work from him in
future. Leela Desai must spend a
little more time with her diction.
She didn't come to my expecta-
tions in her work, but her portra-
yal being cleverely based on her
native drawbacks, impressed well
in the frivolous moments of the
story. Her dance, however, was
very good. It had more purpose
than school and is beautifully de-
veloped to the emotional frenzy so
dramatically portrayed and needl
ed in the scene. The souna be
hind Leela's song sounded liki
Kamla Jharia's. Lip synchronl
zation was correct, but an actioJ
of the hand gave it away. Najan
didn't impress me, as the direci
tion in his work looked obvious
Nemo and Deobala proved whai
really good artistes with ex
perience can do. Jagdish and Pri-
thviraj had very little to do anc
they did it well as usual.
Production : Clever Scenario •
Masterly Direction - Beautifu
Photography - Good Music - Bu
Common Story ! These are som«
of the outstanding impressions lef
behind by the picture. No one bu'
Nitin Bose with his camera creatj
ing sequences and situations frorr
foot to foot, could make a pictun
out of this thin story. Nitin';
camera has created this pictur<
throughout and that is why it hai
become a pictorial poem whicfl
suffers no forced accommodatior
for the T. B. "germs".
One shot however needs a retak<
and that is the first studio shot o:
the motor, where the studic
dummy does not show the finist
of the real one. It would be al-
right for an Andheri studio to risl
a crude shot like that, but not foi
New Theatres.
The picture has only four songs
absolutely incidental and necesaryM
and they are all good. Dialogues]
are well written. The sets wertH
attractive and particularly thJSj
staircase set. It looked solid ancB
didn't suffer from "nerves."
The cleverest touch in the treat-H
ment of the story is the return o'[
Gita with Dr. Kedar to the scen«j
of her love frolics with Mohan'
where the vagrant musician playwi
on his fiddle. By rehearsing thcl
same scenes with another man, she*]
opens the old wounds again In arH
attempt to increase her soul resls-»i
tance and forget the old ache, bullj
breaks down when the pathetic!
note from the violin suddenly stab«i
her heart and wakes up the dor-1
mant emotions. This subtle, Psy-B
chological scene takes Nitin a low
up in the estimate of the intellecj'
tuals.
Points Of Appeal : If one is now
misled by the name "Dushman'l
pril 1939
FILM INDIA
|j has no reason to be disappoint-
I if he does not find the "T. B."
|. it. The picture presents a good
l>mantic and interesting story and
iiould be seen because of New
theatres. An excellent entertain-
ment !
•'PREM-KI- JYOT"
Producers : Ruby Pictures
irection : Gunjal - Cast : Sulo-
lana, D. Billimoria, Jal Merchant
c. - Released At: Minerva Talkie*,
ombay - Date of Release: - 17th
•bruary 1939.
This maiden production of Ruby
ictures is quite a sensible picture.
however lacks the final finish
; several places and the end la
ither unusual and not easily ac-
:ptable. The effort, as a whole
Dwever, is very commendable and
igurs well for the future.
The Story : It is the usual love
ingle glorifying the friendship
itween two men. Vinod and
asant are two friends. While
inod is abroad taking medical
aining Dr. Vasant meets Sulo-
lana the only daughter of Sir
ityanarayan. They fall in love
ith each other, though they first
;gin as patient and doctor. Vinod
;turns and by coincidence and
ithout the knowledge of Vasant,
so falls in love with Sulochana
id believes that Sulochana re-
irns his love with equal warmth,
asant comes to know of this and
looses to sacrifice himself for the
>od of his friend and his beloved,
omplications follow till Vasant,
hile on his deathbed of accident,
ves Sulochana to Vinod.
, | Acting: Sulochana, the favour-
,ie of millions, stages a wonderful
>me-back in this picture. In-
cite of handicaps, she gives a
. erllng performance as Sulochana
le daughter of the millionaire
[ id the heroine of the story. Her
ince is technically correct, while
. ;r diction and language are far
, .r improved. D. Billimoria as Dr.
lasant gives a very sympathetic
;rformance. His song attracts a
)od lot of attention being sung
.irrectly. Jal Merchant as Vinod
•oved rather disappointing, but
; hasn't much to do.
Production : The continuity ot
the picture is slightly jerky at
some places. Sound recording is
pretty good, but the photography
needed greater care and skill. The
direction of the picture is satisfac-
tory. As a maiden production this
picture has several good points to
recommend itself.
Points Of Appeal : Sulochana,
charming and beautiful as ever,
but more subtle and intriguing
than ever before, is worth seeing
on the screen. There is in addi-
tion a good story to back up the
star. Certainly a treat for Sulo-
chana fans.
Mr. Sushil Kumar, a new friend of
Mohan Pictures
"IT'S TRUE"
Producers: Saraswati Cinetone -
Story & Direction : Chowdhary -
Dialogues : Pandit Niranjan
Sharma (A jit) - Music : Suresh
Babu - Photography : Purohit and
Shinde - Audiography: Patil &
Jadhav - Art Director : Bal Gajbar
- Cast: Motilal, Rose, Shakir,
Chandni, Usha, Baba Vyas etc. -
Released At: Central Takies Bom-
bay - Date of Release: 4th March
1939.
It is a story of ideals In con-
flict. The writer sets out with a
theme of untouchability but in the
end fails to justify it. Perhaps
the grip of orthodoxy on the
writer himself was too strong. The
story, however, has become provo-
cative in places because of the
diverse aspects of contrast bet-
ween orthodoxy and reform. Had
development of the story material
been less erratic and more logical,
It would have become an interest-
ing screen story. The end of the
picture has been worked out with
a nervous eye on the Sanatanists
In the country with the result that
it fails to meet the popular de-
mand and gives the story a dif-
ferent purpose.
The Story : Roopa is a Harijan
girl in Benares living with her old
father Badal. Kashipati a stern
Brahmin is the head of the Anand
Math. His son Chandan is a poet
and loves Roopa in opposition r.o
the wishes of his father and of his
people. Kashipati however has
other plans and wants him to get
married to Mangala so that Chan-
dan may succeed to the gadi ol
the Math. Complications are
created by Shripati a local chief
with the help of Lalita a courtesan
and Guru, a semi-gangster. In
the midst of several romantic in-
terludes, the writer has tried to
preach a peculiar philosophy which
while trying to glorify love fails
to do so. The end is framed in
some spectacular storm scenes, but
with all that it proves unpopular.
Chandan ultimately goes away
with Mangala, while Roopa joins
hands with her own kind in Bal-
deo.
Acting: Rose as Roopa has given
an excellent performance. In fact,
the sequences in the picture hava
been so arranged as to give her
the entire scope for work. This,
incidentally proves to be the main
drawback in the picture and con-
tributes considerably in making
the picture weak. A little more of
the hero was badly needed in
several situations, but his role has
been mercilessly subordinated to
that of the heroine. Motilal Ha
Chandan the hero has been mar-
tyred in an all important role
What little scope this young man
had, has been well used by him.
particularly in light actions. Baba
Vyas as Badal gives a pathetic
performance, though he is a little
stagy at times. Chandni is a sor*
aisappointment and proves hardly
suitable as a screen artist.
53
FILM INDIA
April 193!
Production : Pictorially, the pie*
ture is beautiful in places. But
the director seems to have been
lost in attaining the pictorial ex-
cellence to worry about the story
and its theme. In parts the pic-
ture is very well directed but at
other times it has become too
sketchy. Photography and record-
ing are also good in parts, lino
music is satisfactory - song No. 'd
particularly so. Artistically the
picture can be called beautiful, but
the director has failed to deliver
the goods.
Points Of Appeal : The storrn
and flood shots in the picture are
worth seeing twice.
"LADIES ONLY"
Producers: Sagar Movitone
Story & Direction : Sarvottam
Badami - Cinematography Fare-
doon Irani - Audiography : C.
Pandya - Dialogues: Zia Sarhadi -
Songs: Zia Sarhadi and Pandit
Indra - Music: A Gatak - Set-
tings: Roora Mistry - Cast: Bibbo,
Surendra, Sabita, Prabha, B. Ad-
vani Harish etc. - Released At:
Pathe Cinema, Bombay - Date of
Release: 16th February 1939.
We are told that this a comedy.
It is in fact a parody bordering
on satire. The whole affair puts a
strain on the human imagination
and one is compelled to take a lot
of things for granted. The picture
lacks a motive and therefore iaiis
to appeal to the intellectuals.
The Story : Three girls from
three different provinces Bengal,
Gujerat, and the Punjab, are
shown as meeting at a single
station in Bombay. How thst can
be done, is a little difficult to un-
■derstand knowing that neither at
(he Bombay Central Station not
at the Victoria Terminus can this
trick be done. However it happens
in the picture, because the story
writer wants It so. They decide to
board and lodge together as
friends and with an idea to help
another. The hero, I doubt whe-
ther he can be called one in this
picture - anyway the male in the
story, also meets these girls by a
coincidence (very much expected'.
They move to the lodgings - the
three girls in a flat and the man
across the street - this distance
between them being shown in a
couple of shots as otherwise one
feels that all of them are all the
time in the same room. The
director needs a^ better study of
gecgraphy. The man his name is
Satish. evidently has nothing else
to do but sing and sing without
any reason. He is even shown a
couple of times conducting an
orchestra - of course stray shots
to prove the man's all absorbing
passion for music, which of course
it doesn't prove, but all this effec-
tively exposes the intellectual limi-
tations of the director.
The three girls are, - Asha, the
Punjabee - Chhaya, the Bengali
and Sarojir1"' the Gujarati. There
is so much uf general talk between
the girls stressing the provincial
differences that one cannot but
feel that the roles are intended to
portray representative types. The
Punjabee girl is shown as a greedy,
sleepy, music loving, comfort seek-
ing, jealous and vampish type.
She is crude and excitable and Is
not expected to understand any
mental or spiritual aspect of human
existence. Altogether a debatable
representation, which might be
misunderstood by some super sen-
sitive people of the province.
Chhaya the Bengali girl Is
shown as coy, vague, miserly and
at times primitive. Though a
grown up woman she often be-
haves like a child, evidently to
humour the director. Against the
none too convincing background
created by these two girls, Sarojinl
the Gujerati girl, is shown as a
resourceful, steady, educated high-
ly intellectual woman with great
ideals and greater organising abi-
lity. This type is brought out with
prominence at the expense of the
other two and in this aspect the
picture becomes slightly objec-
tionable.
Well, these girls meet, live to-
gether, aim together at the male
who cannot be called a hero
in this picture because he does'nt
ultimately marry the heroine, and
play together, till they reach a
luke warm climax where they meet
a solid obstacle in the 14 stone
wife of the male actor and then
- the girls walk out together afte:
muttering "something" against thf
males in general.
When it all ends, one feels re
lleved. A story must have ;
motive and a purpose. This hasn't
Acting : Sabita was expected ti
give the best performance in thi
picture, which she however doe
not do. Bibbo beats her hollow
The role suits Bibbo and she shine
out with her vigorous performance
The next best would be Prabh;
with her shy and charming man
nerisms. She gave one a littli
ache and created some sympath;
for the Bengali girls in genera]
Sabita's portrayal however is ai
eloquent defamation of the Guje
rati women we generally find ii
the country. One cannot imagin
such a spineless performance
coming from so experienced ai
artiste. Sabita was all along artl
ficial and when she bursts out into ;
song people burst out into one gal:
laughter. In the Punjabi costume
however, she looked more present
able. That is a tip to her directoi
About Surendra, less said, th
better. B. Advani gave a gooi
performance.
Production : With a defectiv
scenario, one cannot expect a welj
directed picture. The director be
gan well and the first reel i
really attractive but thereafter
well, leave it. The direction i
poor - and too poor for Badair
with so much experience behin<
him. Photography is beautifu
and in places too beautiful fo
mere words. The laboratory wor
called for more care. Sound re
cording is quite good.
The music was badly tuned an<
did not attain the usual Saga
standard. The tunes were wrongl
and hopelessely mixed in the des
perate effort to give novelty. Th
attempt failed in this directior
but succeeded in establishing th
exact abilities of the music direc
tor. Verse composition of thj
songs nos. 1 and 4 is praise
worthy. Settings are attractive
Dialogues are quite nice.
Points Of Appeal : Sabita fan
may like the picture. The satir
in the story is amusing. A son
by Surendra is worth hearing.
54
amera I
Prabhat Pictures are taken on the new
ASKANIA Ca mera
*
The ASKANIA Camera-man does not hold the shoulder camera in front of his face.
He carries the camera on his right shoulder. This constitutes the fundamental
difference between tha ordinary hand camera and the ASKANIA shoulder camera.
Focusing magnifier
Tachomelcr
Button lor
changing over
Irom tinder to
tilm viewing
Stiap lor sun[i
while takm
Knob (or moving the camera
mechanism by hand
Follow Prabhat and
Buy Askania if ycu
would put quality
into your pictures —
A better Camera then
Askania has to be
built—
•
When Internafional
Talkie Equipment sells
a product it is backed
by an international re-
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and reliability. In
India " International"
gives it a further push
by reliable personal
service.
We are the Sole Agents for India, Burma and Ceylon for the world famous
ASKANIA Cine Cameras and accessories for 35 mm. Film.
to us /o-o/ay arte/ xoe s/>aff yt've you fuff deiaif; of f/iis ujondet Gzmera u>/iic/i
ma£e$ any man a perfect (Cameraman
THE INTERNATIONAL TALKIE EQUIPMENT CO.,
ROXY CHAMBERS ..... New Queen's Road BOMBAY
"CONRADTY" CARBONS ARE SECOND TO NONE
Kicks and Kisses
"Would you kiss a man with
liquor on his breath?"
"Yes, if it was champagne".
■ * »
Give a girl enough rope and she
will let you go hang.
* » »
Bobby: "Pa, what is a woman's
intution?"
Pa: (after night out) "Three-
fourths suspicion, son."
* » •
1st Woman: "I'll bet you don't
trust your husband outside the
house".
2nd Woman: "Huh! I don't even
trust him inside the house since I
hired that little Anglo-Indian
maid."
* * *
Gold-diggers are just like goats.
They use their heads when they go
after a man.
* * *
Miss Thirty Five: "What makes
you so happy, lately that you are
always giggling?"
Miss Forty Five: "He-he-he-he"
Miss Thirty Five: "Oh"
* » *
THE HEATER
She 1: "I shivered all over last
evening".
She 2: "Didn't the heat come
up?"
She 1: "No, he had to work late
at the office".
» *
A man is like a lamp wick - trim-
med lots of times before he gets
right flame.
* » •
The Remedy
Clown: "It was a case of love at
first sight".
Frown: "Why didn't you marry
her?"
Clown: "I met her again and
again.
* * *
"So you let Tom kiss you. eh?
In a moment of weakness?"
"No, in an hour of weakness".
56
An old maid is a woman who
was once ripe for love, but wasn't
picked.
* • •
Love nests are usually occupied
by some rich old bird who wants
a little private lark.
Ashik Hussein and Indurani in
"Chasmawalli" a Mohan picture.
He: (In a boat): "On the other
side of this river is the show place
of this country".
She: "What is it. a beautiful
estate?"
He: No, a nudist colony".
The best man at a wedding is
the pne who isn't getting married.
The Hive
lp
Steno: "My boss is as busy
bee".
Stenog: "Yes, I noticed he hlliei
a little honey on his lap today',
* • •
Money to burn makes a 1
of flames.
Blonde Model: "What do yt
usually charge after a day's posh
in the nude?"
Brunette Model: "Assault, breatj
of promise and unwelcome attei
tions".
fl
m
Some girls are like talking doll
They squawk when you squee:
them.
He: "Now I am about to ste:
a little Kiss".
She: "Let the crime wave begin
5o
lea
Anglo-Indian Betty says anothi
good way for a girl to father ht
nest is to travel with night owls
isn
Nowadays girls rouge in hast
and repaint at leisure.
• s
A pedestrian is a girl wh
doesn't neck.
*
Men aren't so hot, but a gii
might as well make the best o
them.
» » *
Market Value
Gal: "Sometimes a kiss is gooc
sometimes it is worthless".
Boy: "Yes, that's the long am
the short of it"
•
The darker the parking plac
the brighter the ideas a man gets
Not A Book Worm
He: "But, honey, a kiss speaks
volumes".
She: "Well. I am not fond ol
books".
• • »
I know a movie star who looks
like a girl of eighteen-eighteen
weddings.
ipril 1939
FILM INDIA
When a boy has a girl in his car,
/here there's a will there's a way-
ide.
» » »
Nowadays, a thoughtful bride
aves a piece of her wedding cake
or her divorce lawyer.
The only thing that is shy about
he modern girl is some of her
lothes.
A girl still remembers the first
kiss after a man has forgotten the
last.
The trouble with level headed
girl is that they usually are also
flat-chested.
The marriage certificate is the
weakest bond on the market.
And now consider it your goal
To get her under your control;
Just use your brains, it takes
some wits to
Subdue a girl with Jiu-Jitsu.
« s *
Hold everything! Hold on until
She knows you have the stronger
will;
Be masterful, make sure you don't
Find out she has the stronger
won't.
When a girl looks good in
runks, the men try to get a grip
n her.
• • •
A bigamist is a man who makes
he same mistake twice.
Some girls' hearts never get a
•reak.
♦ • *
A kiss used to follow a swell
vening, but nowadays a swell
vening follows a kiss.
Dedicated to our Street Romeos
To handle girls is quite an art,
You seize her just below the heart,
And, disregarding all her lip,
You swing her up unto your hip.
Then if she wiggles, tries to fight
And screams with all her main
and might,
Just get behind and without haste
Throw both your arms around
her waist.
The next step is a little bolder,
Just fling her up across your
shoulder;
And carry off her figure neat
The way you would a sack of
wheat.
• • *
Your task is finished now,
complete;
Your girlie will be tame and
sweet ;
Your every whim she'll under-
stand
And never once get out of hand.
"Movie Humour".
Hindi by:
Pandit Indra
IN HINDI AND MARATHI
BRRHmncHnm
THE "ROYAL" JEWEL
THAT SHATTERS ALL RECORDS
IN THE COUNTRY
Story by.
P. K. Atre
VINAYAK
MEENAXEE
No.. Stop 31S.T WEEK at tbe MAJESTIC Bomt
The Most
Popular Picture
of 1938-39
•
ay
Universally ack now-
ledged to be the
Best Tonic
for Body & Brain
Mind & Heart
Proprietory Rights with. ROYAL FILM CIRCUIT, Bombay-4
57
Mrs. Jyotsna Bhole
ear Mrs. Jyotsna Bhole
f " Panda ri(
I "Raise P;
Oil
T. M. 8350
icha Witewan"
PahuRup Tuje"
ar Mr. Suresh & Balabai
on ' . ' .
d.h. 5593 r%r? Hei T
( Brahmachari lenant
The Craziest of all Comedy Dramas
Do not miss this
•
A
P
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3
I
RELEASE
m
u \ kcc
YOUNG INDIA
ClfCTtliUl \ KCOBOIM4
Hear Vatsala Kumthekar & Duet of Manohar Kapoor Vilayat
on "YOUNG INDIA RECORDS"
THE NATIONAL GRAMOPHONE RECORD MANUFACTURING CO., LTD.
Telegrams: "TANSEM"
Telephone No. 25181 ♦
110, MEDOWS STREET, FORT, BOMBAY
Factory at
WADALA (BOMBAYi
Tu>o Tilde Cjijantic lYLaban Plobuctions
A) ABLAKI SAKTI
featuring : — Miss Kajjan, Khalil, Premlata,
Pearl, Laxmi, Mustafa,
Chunilal etc.
B) MERCHANT of VENICE
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Sealuting \ — Jehanara Begum and Khalil.
FOR
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THE PICTURES AND FOR TALKIE SET .-
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: — INDIA PICTURES LTD., ■
- 178, Harrison Road, CALCUTTA !
BOMBAY
RAN JIT MOVIETONE:
Directed by Mr. A. R. Kardar.
"The Kick" has been completed
and censored. People who saw the
trial of this picture state that this
picture will surpass all other pic-
tures in quality, which have come
out from the Ranjit Studio. Direc-
tor Jayant Desai is giving finish-
ing touches to "Sant Tulsidas" and
this picture is likely to run in
Bombay sometime in the month
of May at the Royal Opera House.
The work of shooting "Achhoot"
has been postponed for the pre-
sent, as Sardar Chandulal Shah is
very busy with the affairs of the
Indian Motion Picture Congress
On the other hand, director Vyas
is fast progressing with his picture
called "Good Luck". The Punjabi
picture, "Mirza Saheban" will be
ready soon and is likely to be on
the screen during the month
SAGAR MOVIETONE:
At the studio Mr. Mehboob has
completed "The Only Way". Direc-
tor Virendra has h3lf completed
"Sadhana" while director Nandlal
is shooting in the in-doors the last
sequences of his first picture at
the Sagar called "The Comrades".
Mr. Yakub has completed his crime
thriller called "His Last Desire".
BOMBAY TALKIES:
By the time this is in
your hand "Nav Jeewan", the
new social picture of this
studio should be drawing large
crowds at the Roxy Cinema in
Bombay. Once again Bombay
Talkies have given a beautiful story
as usual, framed in a more beauti-
ful technique. And once again we
don't find Devika Rani in the cast.
This time, however, a new girl has
been introduced in Hansa Wadkar,
new in the sense that for the first
time she has been allowed tn
shoulder the heroine's role
RUBY PICTURES:
Mr. D. Billimoria is busy witn
the script work of his new social
picture called "The Storm". With
the experience that Mr. Billimoria
has got in his maiden production
"Prem-ki-Jyot", he is certain ol
improving in his second picture.
PRAKASH PICTURES:
The studio is planning to pro-
duce another animal thriller called
"Leather Face" while director Bal-
want Bhatt will be taking uc
"Protia", the story of an amazon.
The picture which is actually un-
der production and in which fast
work is being done is, however,
called "Kali-ka-Ekka".
WADIA MOVIETONE:
"Jungle King" has been released
at the Lamington Talikies in Bom-
bay where it is attracting a crowd.
Director Homi Wadia is fast com-
pleting "Punjab Mail"' while
"Vijay Kumar" and "Jai Swadesh"
are also being attended to regu-
larly.
EVEREST PICTURES:
The shooting of "Sitara" has at
last come to an end and now
India's best Editor Mr. Ezra Mir is
putting his artistry of the scissors
into "Sitara" and lending it the
soul of an artist. This saga of
gypsy life has given such a won-
derful promise of success and
popularity to all those who saw the
early trials that by now it is a
foregone conclusion that the Ever-
est Pictures will depart on an
ambitious programme of future
productions. Mr. Ezra Mir Cer-
tainly deserves the success that he
is getting.
MOHAN PICTURES:
"Midnight Mail" attracted a
good crowd at the Imperial
cinema when it was released in
Bombay during the last month. In
the studio director Safdar is
shooting "Chashma Wali" while
director A. M. Khan is proceeding
fast with "Jalta Jigar". "Bhedi
Kumar" is another sensational
thriller that is ready at the studio.
BHAVNANI PRODUCTION:
"Son of Zambo" featuring Bimla
Kumari and Sunita Devi is now
receiving the final finishing
touches by Mr. Bhavnani.
ROYAL FILM CIRCUIT:
"Brahmachari" is still running
at the Majestic and so is "Mother
India," which was purchased by
these people, at the Royal Opera
House. Mr. V. R. Mehta, the pro-
prietor, has not yet announced his
new surprise. But he will.
REX PICTURE:
"Secret Five" the maiden pro-
duction of this company has been
completed. The new picture to be
taken in hand will be 'Thunder'
with E. Billimoria and Romilla in
the lead.
MINERVA MOVIETONE
Mr. Sohrab Modi has completed
"Pukar" a picture of the times of
the Moguls. One distinguishing
feature of this picture is the role
of Jehangir played by Chandra
Mohan.
KRISHLN MOVIETONE
Some of the critics have already
classed "Zamana" as one of the 10
best pictures of the year. This
new found reputation of the pic-
ture is being borne out by its
success in the country at all
stations wherever it is released.
Director Ram Daryani is at pre-
sent on tour collecting precious
material for his new story called
"Hindusthan Hamara". The pic-
ture is likely to go into production
in the first week of May.
PARAMOUNT FILM CO:
"Golden Gang" a crime thriller
is lying ready in tins having been
superbly completed by Kikubhai
Desai. On the other hand Nanu-
bhai Vakil is giving the final
touches to "Aflatoon Aurat".
POONA
SARASWATI CINETONE:
As last after a long wait "It's
True" directed by Mr. Chowdhary
was released in Bombay.
At the studios "Bhagva Zenda"
a Marathi Historical picture is be-
ing shot steadily under the capable
direction of Mr. Nanasaheb Sar-
potdar. Director Chowdhary's next
picture will be another social one
and for the present it is called
"Gold". It is to be seen whether
it will justify that name or not.
59
FILMINDIA
April 1939
PRABHAT FILM CO:
Director Shantaram has gone
into shooting. That by itself Is
some news knowing that he was in
heavy mourning due to the sad
death of his younger brother. The
picture is called "Life's for Living"
and will be produced in two lan-
guages Marathi and Hindi. Shanta-
bai Hublikar has been given the
stellar role and Mr. Krishnarao
has been entrusted with the in-
finitely difficult work of giving
popular tunes to this good singer.
The other items in the year's pro-
duction programme are "Dnyan-
eshwar" and "Vasantsena".
KOLHAPUR
HUNS PICTURES:
It is hardly necessary to recount
the wonderful success of 'Brahma-
chari' and 'Devata'. With the
incomparable reputation gathered
by these two pictures. Huns has
shot up in the estimate of millions
in the country. At the studio they
are now shooting 'Brandi-Chi-
Batli" a social picture advocating
the advantages of prohibition.
The theme of the story has been
underlined suitably by an opening
speech by Sardar Vallabhbhai
Patel.
CALCUTTA
NEW THEATRES:
"Bardidi" a social picture in
Hindi and Bengali is now ready
for release at the studio. They
say that director Amar Mallick has
made this an excellent picture.
Let us wait and see. Director
Devaki Bose is giving the final
touches to "The Snake Char-
mer", which picture the studio
hopes to complete by the end of
this month.
That newly discovered director
Phani Majumdar is shooting the
indoors of "Kapal-Kundala" and
has already shot the dance se-
quence which, according to the
sudio note, is expected to add
glamour to the picture. It will, if
the girl who dances has glamour
of her own.
FILM CORPORATION OF
INDIA LTD.
The studio news says that they
are shooting "Tumhari Jeet". Let
us believe them.
EAST INDIA FILM CO:
"Sohni Kumaran" was released
in the Punjab circuit last month.
The next Punjabi picture reported
to be taken in hand is called
"Surdass". Another picture in
Bengali called "Jokher Dhon" will
be soon going into shooting with
Miss Radharani in the lead.
SOUTH INDIA
THYAGARAJA FILMS LTD:
(Madras)
Raja Sandow is shooting "Tiru-
neelakanta Nayanar" at the New-
tone Studios. That famous singer
Thiagaraja Bhagavathar plays
the hero's role. The picture
is expected to be ready by the end
of April.
SREE SARADA RAYALSEEMS
FILMS LTD. (Madras)
Director Chitrapu Narashima
Rao has begun shooting his maid-
en picture "Jayapradha" in Telugu
and we hope he will soon com-
plete his shooting.
ORIENTAL FILMS LTD. (Madras;
"Sugana Sarasa" has been re-
leased in the moffusil. This Tamil
picture in which Miss Vijayal and
T. P. Rajalakshmi, have played
the lead has been well received in
certain towns. It is expected to
release this picture in the city
sometime in the next month.
JOTHI PICTURES LTD. (Madras)
"Ramalingaswamigal" a devo-
tional subject in Tamil is lying
ready awaiting release at the Para-
gon Talkies, Madras.
MODERN THEATRES LTD.
(Salem)
"Sandana Thevan" the stunt pic-
ture directed by Mr. Nodani will
be released in the moffusil very
shortly. At the studios "Anand-
ashram" is steadily progressing to-
wards the finish.
MADRAS UNITED ARTISTES'
CORPORATION. (Madras)
"Thyaga Bhoomi" is ready for
release. The picture is expected
to be a great success. Another
called "Sakthi Maya" under the
direction of Mr. H. S. Mehta is
well on way to the end.
MAYURA FILMS LTD. (Madras)
"Luck, a Tamil picture, has been
released in the moffusil. But. till
it comes to the City we cannot
tell you how it is liked.
SARATHI FILMS LTD. (Madras)
"Rayatu Bidda" a Telugu picture
is being shot in the outdoors. It is
a story of the peasants.
FAMOUS FILMS. (Nellore)
"Balaji" is running well at the
Broadway Talkies, Madras. The
success of this picture has made
Miss Shantakumari popular.
SALEM MOHINI PICTURES
LTD. (Salem)
The maiden picture to go Into
production will be based on the
life of a poet and will be called
"Kavi Kalamegam". It will be
shot in Tamil.
STAR FILMS LTD. (Madras)
"Punjab Kesari" a stunt picture
directed by Mr. Fram Sethna was
received well at the Gaiety Talkies,
Madras.
RAJAGOPAL TALKIES. (Madras)
"Krishna Thoothu" has now
been completed after reshooting
several parts which were burnt
during the recent fire. The pic-
ture is likely to be released some-
time next month.
VAUHINI PICTURES LTD.
(Madras)
By the time this issue is In your
hand 'Vandemataram' will have
drawn its crowd in the city and
in the moffusil. All those who saw
the picture call it a first class
one, and now only the Box Offices
have to confirm this news.
KUBERA PICTURES. (Madras)
The shooting of "Chandrasena"
a Telugu picture has commenced.
Miss Kanchanamala whose success
in Vandemataram is attracting so
much attention has been signed
up to play the lead in the picture.
ROYAL TALKIE
DISTRIBUTORS. (Madras).
The Studio note says that
"Sakku Bai" is halfway under pro-
duction. We hope she does not
stay there for long.
60
Svery one of these Pictures
is a Sure Box -Office fjil
JEWEL PRODUCTIONS
BOOK NOW
SEE IT AT
GLOBE TALKIES
(Sandhurst Road, Bombay)
Ratna liutari
Directed by. A. M. Khan
[ Starring:
MISS ROMILLA
CHANDRAKANT, B. A.
Miss Kantakuman, S Alam,
Miss Amina, Miss Anvari,
Balabhai. Pazal, Medi Raza,
Ansari, Haroon, Navaz, Kaul
300* others.
BHEDI
KUMAR
Directed by. Chunilal Parekh
Starring:
Miss Indurani. Yashvant Dave,
Urmila Devi, Baby Indira,
Shirazi A. M., Misra. Vasant
Pahelwan, Ansari, Gulamkadar.
Raflk and Harun
A picture that has smashed the records in
Box-office merits.
The most talked about picture of the year.
A picture into which Mohan Pictures poured
all its vast resources...
midnight mail
Directed by: K. AMARNATH
Starring:
Miss Yasmin, Nazir, Miss Gulab, S. Nazir,
Miss Indurani, Chandrakant B.A., Misra,
Gulamkadar, Shirazi. A.M., Varne, Sadik etc.
Ran Sangram
CHASHMA
WALI
Director: Mr. Safdar
Starring:
Miss Indurani, Ashikhusein,
S. Nazir, Miss Anvari. Varne,
Balabhai, Garibsha. Ansari,
Sadik and Rafik.
Director: A. M. Khan
Featuring:
Miss Kantakumari, Chandrakant B.A.,
Miss Amina, F.M.Khan, Miss Anvari.
S. Alam, Balabhai. Medi Raza, Ansari
Our Coming Attraction
*> O *> *>
■ ■ ■ ■
Direction-. Mohansinha
Starring:
Miss Madhubala <S- Sushiikumar.
"Black Heart"
Direction: A. M. Khan
Starring:
Miss Gulab cV Chandrakant B.A,
For nooung, t»:- RAMNIKLAL MOILVN LAL & COMPANY
Khetwadi Main Road, Bomba y-4
Printed by Camer Saleh at the New Jack Printing Works, 75, Apollo Street, Fort, and published by him
for 'fllmindia Publications Ltd.' from 104, Apollo Street, Fort, Bombay.
fitnundia
5
_ r\-KT A I KHATAUWADI ANNA*
) D. B. NEROY & C9. < ■ — - ?
NC BLOCKS /
FEDERRIi
Flbfll
EXCHRRGE'S
Dynamic
istinctive
r a m a
DIRECTOR ;
G. R. SHETTY
Qch
ess
K
V
on
otaitlng '■
PADMADEVI ( BANGVINA )
WITH
ASHIQUE HUSAIN, GAZANVI,
U S H A RANI, MALL I K A,
W. M. KHAN, ABDUL, LAXMI.
ASOOJI, MUKHTAR, CHEMIST.
£ Coming Shortly :
d Soul stirring tale of
a girl's crusade against
the tyranny of social
custcms & her tiiumph.
am
DULHAN & WHY?
f EDCCAL FILM EXCHANGE
24220. - - Majestic Cinema Compound, Girgaum, Bombay 4.
Mwsday. September 13, 1999
THE BOMBAY CHRONICLE
'"LIT
99
HATS OFF TO A GREAT "ADMI' l
By K. AHMAD ABBAS '
"Adnl" «wm to be on ihe
wv to &ebleve tbe miracle of
b»inj bolh popnUr and trtlaO-
eMj distlnfulshed.
Congratulations to Pra-
bhat for another 'hit'. And
thanks, Shantaram, for a
really great picture.
Itt, .ml'" "t »nc
,htnM<*> " , MtroI» "
VIV,D ,,vT
4fe
II
ho'"
— ^^.r^s >&> >z.,r.
'.6/ — 3^ — •
...
V
PHABHATS CLAWOJN TAIL
TO YOUTH MEETS WITH
SEXSATIOIVAE RESPONSE !
Th. WM. Cly Acclaim. Pr.kW. 'ADMi 1
Peace Wai
It's the same to u
We still continue to be the
leading Cine-Projectors and
Cinema Machinery Dealers
in India.
Each and every spare part,
Carbons, Convertors etc.,
available at reasonable
prices !
The Projector that has
The Quality Projector become the house-hold
with the Quantity Price word with the Exhibitors
LOe Siill Bead others fallow
International Talkie Equipment Co.
Roxy Chambers, New Queen's Rd., Bombay 4
Phone: 20892 'Gram : "Soundhead"
STOP PRESS
Mr. Baburao Patel, has now
reached Hollywood where Will
Hay's office is sponsoring his visits
to the various studios. Mr. Patel
in the course of his conversations
with various prominent producers
and stars, has been expressing the
resentment of his country against
anti-Indian films.
A detailed report of Mr. Patel's
activities in Hollywood, from his
own pen, will appear in the next
issue.
The report of Mr. Patel's stay in
New York, received from the News
Press Service of U.S.A., will be
found on page 19.
The memorandum on the sub
ject of anti-Indian films that Mr.
Patel submitted to Lord Zetland in
London, appears on page 45.
GIRL ON THE COVER
n minii
Proprietors: Filmindia Publications Ltd., 104, Apollo Street, Fort. Bombay
Editor: BABURAO PATEL
Vol. 5
OCTOBER 1939
No. 10
WAR - - -
and the Indian Film Industry
And so, after years of suspenseful and agi-
tated tension, the Nazi Fuehrer has plunged the
world into yet another homicidal war. The
tragedy is that because one megalomaniac ex-
House Painter has taken it into his head to ex-
pand his 'empire', Poland must be blown to
smithereens by German bombers, normal life
must come to a stop in France and Britain, mil-
lions of mothers all over the world must be pre-
pared to lose their sons, and wives should steel
their hearts against the prospect of never seeing
their husbands again. Even India, as a part of
the British empire, cannot but be directly in-
volved in this trial of strength between the 'de-
mocracies' and the Nazi moloch. Also there is
no doubt that our sympathies are all on the side
of the victims of Nazi aggression. Though far
removed from the actual theatre of war, already
we are feeling the pinch in a hundred different
ways. Profiteering has raised its ugly head and
prices are soaring high, much to the discomfiture
of the middle and working classes.
PRICES SHOOT UP
Even the Indian film trade must necessarily
feel anxious about its prospects in the near
future. A leading German firm that used to
supply raw film and equipment on credit to
many of the studios has been closed- Some pro-
ducers are finding it pretty hard to get film
stock even for their daily requirements- The
price of film stock has already appreciably in-
creased as also the prices of chemicals and pho-
tographic materials like printing paper for stills
FILM INDIA
October 1939
etc, but if the war is prolonged, as seems likely,
there is little doubt that cost of production will
further go up- The manifold problems of re-
placing German equipment owing to the diffi-
culty of getting a supply of spare parts, read-
justments of carbons and projectors, the likely
restrictions on Cinema timings due to A.R.P.
black-outs in the larger cities — all these mean
handicaps to the film trade. Economy on pro-
duction schedules is, therefore, definitely indi-
cated.
But we should not be stampeded into ac-
cepting the producers' stock remedy of cuts in
salaries and retrenchment of personnel. Lower
salaries would tend to adversely affect the mo-
rale of the studio employees and be detrimental
to general efficiency. Reduced staff, besides
throwing out hundreds of honest workers on the
streets, would mean slower production, greater
delays and fewer pictures in a year.
RATIONALIZE PRODUCTION
A much better thing to do would be to re-
organize production activity on a more rational
basis, quicken the speed of work and thus bring
down cost of production per picture. Among
other things that would ensure completion of
pictures within the shortest possible time, we
whole-heartedly endorse the suggestion made in
the Bulletin of the Association of Cine Techni-
cians of India that the shooting script should be
completely ready before the picture goes on the
'sets'. Such a course would eliminate much un-
necessary expense of money and energy. We
know of ordinary, second rate pictures that take
10 and 12 months to produce. Meanwhile, the
salaries of the stars and Directors mount up to
a formidable figure- In the same time two or
even three pictures could be producd if the
paper work was completed before the produc-
tion started. Moreover a scandalous amount of
film footage is dissipated in takes, retakes and
're-retakes', on scenes that are discarded at the
last moment and on 'shots' that are mis-fired! If
expenses have to be curtailed, why not start by
stopping this wastage of raw film?
At the same time we must appeal to the
stars and all other artistes to co-operate fully
4
in this policy of rationalization. They can dc
so by being regular in attendance hours, getting
ready with their dialogues and make-up punc-
tually, avoiding temperamental moods and head-
aches caused by late nights and generally giving
of their best in the interests of their producers
Every minute costs money in a studio and by
helping the producers to save unnecessary cosl
they will only be ensuring their own careenj
which are likely to be jeopardized by a collapse
of the industry.
SHORTER PICTURES, LESS COST!
.' JH
By the way, have the producers realized
that they can save almost Rs. 5000/-per produc
tion if only they cut down their pictures to M
reasonable length of about 12000 feet?
As the price of raw film increases, eacl
print will become more precious. It become:
necessary, therefore, that exhibitors, cinema
managers and their operators should take mor<
care of the films they handle. At the present
the crude way they run the pictures necessi
tates constant repairs and early replacement
The foreign distributors have also occasions t<
complain of careless handling of their prints
In the interests of all concerned the cinem;
authorities ought to exercise judicious care o
the stock they handle.
NO DICTATORS
Thus we see no reason for a panic- No
should we allow capitalistic profiteering at th«;
expense of studio workers who are being threat
ened with retrenchment and wage-cuts. If ii
this moment of crisis, sacrifices have to be made
let both sides make them — not the worker
alone! Above all, it is necessary for everyon
holding a responsible position in the industry t>
coolly analyse the situation and to make thjl
necessary readjustments, only after an intelli
gent stock-taking of the situation which ma;1
even result in permanent improvements in thjl
standards of film production in India, thus provlj
ing the war to be a blessing in disguise. Wha
is to be avoided is any precipitate action takeil
by our producers in an autocratic manner. Onjl
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We don't want more dictators.
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Ihis section is the monopoly of 11 JUDAS" and he writes what he
likes and about things ivhich he likes. The views expressed here are
not necessarily ours, but still they carry weight because they are
written by a man who knows his job.
EVEN IN HOLLYWOOD
In Hollywood, as in India, film producers resort
to all kinds of tricks to get favourable reviews of
their pictures.
This has been revealed to me by Frank Nugent,
Motion Picture editor of "The New York Times" and
Douglas W. Churchill, the Hollywood correspondent
of the same paper, who have contributed one of the
most entertaining chapters to "We Saw It Happen"
(Harrap, 8 shillings 6 d.)
This is Frank Nugent speaking:
"As a critic, as well as an editor, I realized early
that producers preferred favourable reviews to un-
favourable ones, and occasionally tried to "do some-
thing about it." Cocktail parties and luncheons are
harmless enough, but one producer made the mis-
take once of putting 5000 dollars on the line for a
story ("You must have one in the bottom of a trunk,
somewhere; every writer has; just retype it and send
it along".) I admitted to the producer's uncom-
fortable emissary that most of his boss' stories
sounded as though they had come from a trunk,
but that my past sins would remain buried. It has
been part of a critic's education too to give a quick
hearing and forgetting to vague offers of studio
jobs "
Several film critics in India will find the situa-
tion familiar, though of course a mere couple of
hundred rupees is supposed to be fair price for film
stories in this country. Also, some of our own movie-
kings play the reverse game. A poor film critic who
had dared to criticise a producer's pet child was
slandered with the accusation that he had been
spiteful because he had once submitted a story
which had not been accepted by the said producer!
BANNED FROM STUDIOS
"It came as something of a shock," continues
Nugent "when the mail from Churchill, on the
coast, revealed that all was not beer and skittles
on his side of the fence. He had just been banned
from one studio, was in disgrace with another, and
was eyed with more or less suspicion by the rest.
A day later I heard on the q.t. that the publicity
heads of several companies had met at the Hays
Office to discuss the feasibility of revoking his press
credentials.
And now it is Churchill's turn to tell his side of
the story:
"There is no such thing as co-operation In
Hollywood. The newspapermen covering the town
must ride or be ridden arrogance towards the
Press is everywhere evident. The industry either
threatens or patronizes the Press, except in those
rare cases where the papers have put their backs up
and kept them there. The 'patronage' is so great
that Hollywood is not content merely with prepar-
ing its own news stories but even writes its own
reviews for a surprisingly large number of papers."
My fraternal sympathies to comrades Nugent
and Churchill. But I wonder how they would feel
if they had to contend with the dictatorial arro-
gance of the Indian producers. But why wonder?
They would feel what I feel. It is unprintable!
CENSOR BOARD SECRETARY
Sometime back the need was felt for a full-time
secretary to the Bombay Board of Film Censors.
The choice was left to the Bombay-Sind Public
Services Commission. This Commission is composed
of retired super-annuated bureaucrats called up
from rest and retirement to preside over the desti-
nies of India's aspiring youth. "All attempts direct
or indirect to influence the secretary or a member
Of the Commission will result in disqualification"—
or at least so they say. It is alleged, however,
that 'recommendations' and 'testimonials' from the
high and mighty were obtained by several candi-
dates. It also appears that there is a tussle between
two candidates who are said to have secured 'recom-
mendations'. The really qualified persons having
been shelved, one of these two may be appointed.
"All attempts "!!
Meanwhile the public and the industry have
been waiting all these many months for the ap-
pointment of a qualified secretary. The affairs of
the Board of Censors show no signs of improve-
ment. Pictures are being arbitrarily banned with-
out the members or the inspectors being able to
give any specific and valid reasons for the action.
7
FILM INDIA
When will the Government wake up to the need
of a thorough over-hauling of this department
which is invested with the authority of sitting in
judgment on a country's entertainment and cultural
amenities?
A SOCIALLY SIGNIFICANT FILM
Everyone has been talking about "Admi", the
Prabhat picture just released in Bombay and unani-
mously voted one of the outstanding achievements
of the Indian film industry.
I do not wish to intrude upon the privileges of
the editor by writing a review of the picture. But
I cannot help remarking that as a human docu-
ment, Shantaram's "Admi", like his "Unexpected",
is full of social significance.
It shows that the cinema, even in India, has
reached an age of maturity. No longer are we to
believe that the average age of the cine-goers is
fourteen years and, therefore, only the most super-
ficial melodramas, stunts and songs are to be doled
out for our screen fare.
"Admi" faces a vital social problem
squarely and honestly, fully aware of human weak-
nesses and not unmindful of the economic realities.
October 1939
With sympathy and understanding, it probes into;
human hearts and draws out the misery as well as
the happiness that it finds therein.
ERA OF "ADMI
There are those who are speculating how long
this picture would run. Would it beat the record
of "Tukaram"? I have been asked.
I am not a booking clerk nor am I a fortune-
teller. I don't care whether "Admi" runs for three
years, three weeks or three days. But I have
hesitation in saying that this is eminently a pic-
ture for the intelligent and discriminating film
goer, the social reformer and the intellectual.
It marks a land-mark in the evolution of tht1
Indian cinema. Artistically as well as technically
for years to come it will remain the ideal that pro-
ducers will — and should — strive for. On the 16tl
of September, 1939, the Indian film industry enter-
ed the Era of "Admi"!
WHEN TECHNICIANS BECOME JOURNALISTS
Do you know that the best technical journa
about the motion picture industry in India is no
published by the Motion Picture Society of Indii
nor by the Producers Association. It is (I mus
At the His Master's Voice Recording Studio in Abbey Road, London — Mr. Baburao Patel was given a
reception by the Gramophone Co. Ltd. Photo shows the chief recording Engineer, explaining to Mr.
Patel, and Mr. Kureishi his London host how records are manufactured.
8
lober 1939
FILM INDIA
J-ifess) not even edited by regular journalists. It
; modestly called a Bulletin and is published (be-
mre it or not) by the Association of Cine Techni-
Lns of India! That ace cameraman Krishna Gopal
I the editor.
Bulletin No. 9 which has been recently publish-
is full of interesting material, primarily intend-
for the technicians but of absorbing interest to
iyone connected with any branch of the film in-
stry.
B. D. Kotwal's article on "Art" is thought-
javoking. I commend the following lines of his
! the attention of every cine technician in India: —
"Art in motion pictures is one of the most es-
htial things. It claims equal importance in a film
pduction as other technical activities do. Almost
I the fundamental rules that an artist is expect-
to observe in painting must necessarily be paid
Lention to in a film production even. Lines of
imposition and the treatment of shade and light
list give a balance to the whole combination,
lery picture frame of the ten reels that are pro-
[■.ted on the screen must be perfect so far as com-
Isition and lighting is concerned."
How I wish every single cameraman in India
iDk this sound advice to heart and acted upon it!
STOLEN SMILES
By the way, these technicians seem to possess
a critical sense of humour, too. And I make no apo-
logy for rounding off this article with the following
two items culled from their "Ravings and Musings":
"Foreign Film Technician to Indian Assistant:
'Lucky you are not in my country. One single mis-
take there, and you would have been turned out.'
Indian Assistant:
Sir?"
"Is that why you are here,
Suggested improvements in
very junior amateur member.
film titles by a
'Please, Mister Producer, when you release a
picture, if you could please give the name of the
American film or films from which you adapted it,
in brackets, of course, and under the new name, we
could then see these films first and study what you
are trying to show in yours, we are sure we would
all appreciate your films better when we see them,
and you would have better sales, and we would all
be happy'.
This is as accurate as possible a translation
from the original request in Urdu. The lad says a
mouthful.
Two Mermaids from the Sagar— Snehprabha Pradhan and Prabha as they appear in "Civil Marriage"
now nearing completion in the Studios.
9
if Delightful Dipali is all the more Welcome to the people
of South India as it brings a Great Picture -with
Great Stars -from a Great Director
MALLI PELLI
SRI J AGADISH FILM'S PROUD PRODUCTION IN TELUGU
Sealuring :
Y . V .
RAO
KANCHANAMAL A
Siren of South India
Miss Rajarathnam
B a 1 i j a P a 1 1 i
Sathyanarayana
Rangaswami
Ramachandra Murthy
Vidwan Srinivasan
and ether talented artists
DIRECTOR : Y. V. RAO
Who gave "Chintamani" which had a Record run of 72 Weeks in Madras
------ - - - -
Distributors for South India:
For Mysore State, South Canara &■ Coorg:
--------------------------^
For Andhra and other Territories:
SUPREME PICTURES
KUSUMA FILM SERVICE
BOMBAY PICTURE CORPN.
Jaffersa St., Trichinopoly
Bangalore City
Bangalore City
• — — — — - — - — — —
Offered
RUNNERS-UP
Rs. 8,000
EXTRA PRIZES
Madorina Novoris Wrist Watch for each One
Error winner. Handsome Fountain Pen for each
wo Error winner. Merit Bonus for each Three
& Four ErrT winner. j
MORE ENTRIES IN THIS COMPETITION
"COMMONSENSE CROSSWORD" No. ISO
Whether you have or you haven't already won a Rs. 15,000 cheque in these Competitions this
Offer brings you another opportunity of doing so. Or perhaps you would prefer the alternative choice of
Rs. 10,000 Down and Rs. 500 monthly for 12 months ? There are many other attractive prizes worthy of
your attention and to secure a share of these all you have to do is to submit an entry containing no more
i han four errors. We can assure you that this is by no means difficult if you study the Clues carefully before
i ecording your solution. An additional Bonus value Rs. 5 will be awarded to every prizewinner who has
iubmitted six or more entries in this Competition.
CLUES ACROSS
1. They often prevent us from
taking ourselves too seriously
7. Physical exercise makes one feel
this
10. Consumed
12. Indian copper coin
13. General tendency
15. Allow
16. Rider's seat on horse
19. Argument is usually of little
avail with person who is this
52. Assumed appearance
23. Nervous type of man is usually
fairly easy to this
24. Entertainment giving great plea-
sure
27. Wooden support for blackboard
or picture
30. Implement for propelling a boat
31. Man who is this is apt to be more
flattered than liked by many
so-called friends
34. Slackness is the cause of many a
junior employee being this
3F. Portuguese India
36. Sometimes has effect of rousing
an apathetic person to purpose-
ful action
37. Big one usually has the advant-
age over a small one in conflict
38. Often helps to stimulate listless
people
39. Conlional rowing is apt to make
CLOSING DATE OCTOBER 12th.
N.B. — The entry Fee in this Competition is Re. 1
per Entry Square and Entry Squares will be pub-
lished in the issues of September 17th, 24th and
October 1st.
a man this
<JOi*8ES
Copyright of these puzzles strictly reserved
by the Compiler.
ONLY ENTRY SQUARES
CUT OUT FROM
"THE ILLUSTRATED WEEKLY
OF INDIA"
of September 17th, 24th or Oct. 1st
will be accepted.
CLUES DOWN
1. Glossy black colour
2. British nobleman
3. Such a mount is often difficult
for a novice to manage
4. Portable canvas shelter
5. Conclusion
6. Term for lean skinny persons
8. A certain courage is needed to do
this
9. The selfish brutes that women
marry
11. This kind of person is naturally
liable to be derided
14. Poem
16. One needs expert knowledge to
handle this to the best ad-
vantage
17. Jumbled spelling of ladle
18. One generally relishes this kind of
food all the more when hungry
19. A dinner of many courses tends
to make one feel this
20. This kind of attack is quite often
difficult to deal with satisfac-
torily
21. Heavy this is apt to cause one
acute discomfort
25. Small deer
26. To succeed in the battle of life
one must have a great deal of
this
28. Arab prince
29. Official examination of accounts
31. Skilful
32. Most delicate people require
special this
33. Small venomous serpent
34. This in an office is apt to affect
work adversely
AVAMLAiSLE FMtOBt ALL NEWSAGENTS
%e EDITOR'S mmii
\ Readers "when you are worried " write to vie. I will do my best t
\ in serving you. Serious matters will be treated seriously, wliile ^
\ -flippant letters will receive like replies. — The Editor. j
'rom: A. R. Khan (Kharagpur)
"Who is the best singer and songstress in Indian
ilms?"
Hear Pankaj Mullick in "Kapal Kundala" and
Shanta Hublikar in "Admi" and decide for your-
self.
7rom: P. V. Naidu (Nagpur)
Have Sadhona Bose, Padma Devi and Anuradha
oined Sagar for good?
For good or for bad — but they have joined Sagar!
From: J. N. Sharma (Simla)
Devika Rani is talked of as a prodigious smoker.
What kind of cigarettes does she smoke?
Sorry. Can't oblige you. She has not offered
me a cigarette yet. So how am I to know?
From: Miss Leela Ryan (Johannesburg)
What is the nationality of the following actors
and actresses and are thev married? — D. Billimoria,
Kumar, E. Billimoria, Motilal, Ashok Kumar, Saigal,
Rama Shukul, Najmul Husain, Pagnis, Baburao Pen-
dharkar, Sulochana, Meenakshi, Madhuri, Vasantee,
Renuka Devi, Indu Rani, Padma Devi, Rose, Kanan-
bala, Ratanbai, Devika Rani, Shobhana Samarth and
Leela Chitnis.
They are all Indians by nationality (even Anglo-
Indians have now condescended to call them-
selves Indians!). Married? I suppose most of
thsm are though I can't swear as none of them
ever invited me to his or her marriage. But,
my dear girl, what's the idea in being interested
in a dozen men simultaneously?
From: I. V. Swamy (Pennada)
Define film technic.
Spell film technique!
From: Govindram D. (Adoni)
In which of the following pictures has Motilal
acted his best? "We Three", "300 Days & After"
and "It's True".
"We Three"— but wait for "As You Please".
From: Hansmukhi Devi (Cawnpore)
I am suitable in all respects for film stardom.
My husband dislikes the idea and calls this career
as a wretched one. What is your suggestion?
Why not persuade your husband to become a
film star? Possibly he will not dislike the idea.
From: B. K. Gupta (Mt. Abu)
How old is Vasantee? And what is her father?
She has just entered her teens and her father
is a lawyer in Bombay. So beware.
From: Miss Kusum Thakorc (Bombay)
Don't you think the following pictures would
have improved if the following changes had been
made in their Castings?
1. PUKAR — Pramilla instead of Naseem as
Nur Jehan?
2. ADMI — Motilal instead of Shahu Modak as
the Hero?
3. TULSIDAS — Kumar instead of Pagnis in the
title role?
4. KAPAL KUNDLA— Uma Shashi instead of
Leela Desai?
1. No, Emphatically not.
2. Yes, it would have added star value to an al-
ready great film.
3. Yes, Kumar would have looked a more appro-
priate Tulsidas if by 'play back' arrangement
Pagnis had loaned his voice for the Songs.
4. No, Uma Shashi can't look a child of nature
like Leela.
From- A. B. Varma (Nagpur)
In which of the following pictures of New
Theatres was Prithviraj most successful: Vidyapati,
Abhagin, Anath Ashram, Daku Mansur and Seeta.
In "Seeta" — but it was not a New Theatres but
an East India Film Co. production.
From: S. L. Nawani (Karachi)
If our national leaders like Mahatmaji, Jajva-
barlal Nehru and Subhas Bose happen to work in
films, would our film industry gain thereby?
Yes. But the nation would lose.
From: K. K. Vittal (Mangalore)
How far has your Filmindia toured now and
when will the tour end?
By the time you read this it must have reached
Hollywood. The tour will end on the 30th
November.
From: S. K. Sethi (Lahore)
There are many prominent Indian st?«rs who
do not reply to their fans. What is the reason?
What measures should be taken so that they may
respond?
Sponsor a literacy campaign.
What do you think will be 1939's best picture?
"ADMI" — and I am sure!
What should one do who is very fond of joining
the film industry?
Persuade a relation to become a producer.
13
FILMINDI A
October 191
From: S. Tharan (Bangalore)
Which is the best in all respects among the
following New Theatres pictures: — Sapera, Kapal
Kundala or Bari Didi?
"BARI DIDI". It leaves the other two, miles
behind.
Will Kanan reappear with Saigal in any other
picture after "Street Singer"?
I hope so — at present they are both afraid of
Phani Mazumdar!
From: Laxman Dinkar (Chindwara)
How is it that you have not yet printed the
colour photo of Baburao Pendharkar?
In "In Search Of Happiness" I found him in true
colours and in this very issue I have managed to
reproduce all his colours.
From: S. Charlie Chan (Natal)
I will send you a photograph of one of my best
girl friends. Will you print it in Filmindia?
Sure. Sure. Send along the photographs of all
your best girl friends — and your own! By the
way are you related to the Charlie Chan who
died in Hollywood, a few months ago?
From: R. S. Dubay (Natal)
Which studio produces most pictures in a year?
Ran jit, of course!
From: Nabi Husain (Bihar Sharif)
Is Jailor as good as Devdas? If not why not?
Am I as good as Bernard Shaw? If not, why
not?
From: Ismail Shakur (Pietermaritzburg)
Why do Indian films have more songs tin
acting?
Because foreign films have more acting and 1(
songs.
From: Miss Degarkar (Belgaum)
Who is better in singing: Meenakshi or Lee
Chitnis?
Meenakshi — but in singing only.
From: A. S. P. Bhimji (Dar-es-Salam)
1. Why do you give so much publicity to Prabhai
"Life's for Living" and not to Minerva's 'Pukar.'
I don't even find any news of the company in yoi
Studio Close-ups. 3. After all what is wrong wii
you?
3. Nothing.
2. Use glasses and read your Filmindia carefull.
As regards advertisements of Minerva Movietoi
you will never find them in Filmindia. Mr. Moi
has his own ideas of publicity.
1. Better pictures deserve better publicity.
From: C. Harbans (Natal)
Which Wadia picture is expected to be the be
of the year?
Let's wait for "Kahan Hai Manzil Teri".
From: M.A.S. (Siam)
Only bad pictures from India are shown in Sia
The Indians and Siamese are very much interested
No, No. This is not a Viennese Waltz, this is a cycle dance from DIL-HI-TO-HAI, a Film Corp. of India releas
14
tober 1939
FILMINDIA
seeing Indian films. Why don't the producers
nd some better stuff to this part of world?
Good pictures cost money. Ask your distributors
and exhibitors to pay more and get better
pictures.
rem: M. Ibrahim (Balebennur)
If war breaks out in India what will our pro-
icers and artistes do?
Same es you or I will do — get under cover when
the bombers come.
In the time of war what about our editor Mr.
iburao Patel who is touring Europe?
Thank God I am leaving Europe and by the time
you read this I will be in glamorous Hollywood
where they shoot only with Cameras.
rom: K. Hiraman Singh (Bangalore)
Who is the better artiste between Leela Chitnis
id Shobhana Samarth?
Leela Chitnis; and now don't argue,
rom: M. G. Sastry (Ellore)
Is there any standard and reliable College in
tdia where I can study Sound Engineering?
Yes. The Abdulla Fazelbhoy Technical Insti-
tute, c/o St. Xavier's College, Bombay 2.
rom: N. Basviah (Secunderabad)
Who can sing better, Sheela or Nasccm?
Sheela.
rom: K. S. Setty (Tumkur)
Devika Rani acted in Karma, an English picture.
Tiy not some of the American stars appear in In-
an pictures?
Have patience. What do you think I am going
to Hollywood for?
rem: N. Tenjarla (Narsoraopet)
Is "Kangan" of Bombay Talkies the first picture
i which Mubarak, that polished actor of the Indian
creen appears?
Yes. It is Bombay Talkies first picture and
Mubarak's 100th.
rom: A. K. Ando (Bombay)
Would you please furnish me with the addresses
f Deanna Durbin; Olivia De Haviland and Dorothy
amour?
1. c/o New Universal. Culver City, California,
.S.A.
2. c/o Warner Bros., Burbenk, California, U.S.A.
3. c/o Paramount Pictures, Hollywood, Los Ange-
!S U.S.A.
rom: K. R. Kisri (Cocanada)
What took Sabu to London Films!
His luck.
Is Ram Bagai your Hollywood correspondent an
n Indian? And what is he there?
Yes. He is an Indian like you and me. He is
in Los Angeles studying film technique.
From: H. K. Lall Ranade (Assam)
What is the caste of Chandramohan?
He is a fine artiste from UP.
Who is the greatest Director of India?
No one is the greatest. Shantaram and Nitin
Bose are the greatest.
From: B. K. Desai (Nagpur)
Write a sentence about each of the following: —
Gouri in "Tukaram"; Vasanti in "Tulsidas"; Chotu
in "Unexpected"; Charlie in "The Kick"; Chandra-
mohan in "Pukar."
1. A daughter of the Earth wedded to a son of
Heaven.
2. She sings her way to your Heart.
3. Jagat Mama — the mad mama of the mad
World!
4. Charlie puts a Kick in to the Picture!
5. Without Chandramohan the Pukar would have
been a Pukar in Wildsrness.
Queen of Beauty — Empress Nur Jehan, played by
lovely Naseem in Minerva's "Pukar".
15
F I LM I N D I A
From: Mohamed Husain (Amalner)
Baburao Pendharker is always being cast with
Meenakshi. By the way what is at the back of all
this?
Have you not yet seen "Brahmachari" and
"Bottle of Brandy"?
From: K. S. Sudham (Bangalore)
I think that the chief impediment in the pro-
gress of our Film Industry is the lack of co-opera-
tion and organisation. Why should not our pros-
perous producers join together and devise ways and
means to further our Film Industry, which has a
bright future? All the producers should forget petty
differences and work on a common platform. This
will prove to be a high tariff wall and our people
will be encouraged to see more and more Indian
Pictures. What is your view?
All dreams come true some day. If you are
young you may live to see the miracle of pro-
ducers co-operating with each other for the good
of the industry and the country. I don't think
I will live to see the happy day.
Do our artistes receive fair treatment at the
hands of the Producer?
Yes. The fair artistes receive fair treatment.
Kanchanmala — the Siren of South India as she
appears in Shree Jagdish Films' "Malli Pelli".
16
October 19(1
I
WM
r
Vimla Sardesai and Gireesh in "In Search of Happ
ness", the Huns picture (in Marathi and Hindustan)
now running at the Majestic Cinema.
Are our artistes interested in sports and othn
topics of dailv interest? Is there any attempt ||
encourage such side activities in our Studios?
Yes.
1. A badminton court at Ranjit.
2. A tennis court and ping-pong table at Bomb
Talkies.
3. A Billiards table at Jyoti (Old Imperig
studio.
4. A Carrom board at Wadias.
5. And practically all the stars attend races.
is t
ha
fail
the
From: B. K. Rama Rao (Mysore)
Between Shantaram and Devaki Bose who
better Director. Mr. Shantaram's pictures
never failed while some of Devaki Bose's have
rather badlv.
You have answared your own question.
Which are the best pictures directed by
two?
Shantaram — "ADMI"
Devaki Bose — "SEETA"
From: Charan Singh 'Nirman' (Sargodha)
Has any lady so far written a screen play?
Yes. Th° late Begum Ansari wrote the story
"Baghban" which was such a tremendous su
cess. Also, I believe, Miss Nandy wrote the sto |
of Bombay Talkies film "IZZAT."
I HE TELLS UNCLE SAM!
Baburao Patel, "Million Dollar Personality," Wins Universal Support In New York
By Louis Ogull, Staff Correspondent, News Press Service.
NEW YORK, Sept. 14.
The smug serenity which has
marked Hollywood's production of
motion pictures slandering the In-
dian people has already been shat-
tered by Baburao Patel, editor of
Tilmindia' and President of the
Film Journalists' Association of
I India, during his brief stay here.
Following up his gala reception
by the press upon his arrival on
August 28, Mr. Patel has smashed
through the armour of indiffer-
ence and complacency of local stu-
dio executives and has also won
the support of the Hays office and
of Nathan Golden, Chief of the
Motion Picture Division and of the
U.S. Department of Commerce.
"Million -Dollar Personality"
Because of the general upset
conditions resulting from the Eu-
ropean War it was not expected
that the mission for which Patel
has journeyed to America would
receive the attention it so strongly
merits. However, Patel's "million
dollar personality," a term unani-
mously bestowed upon the Indian
journalist by the American repor-
ters, has surmounted this seeming-
ly insurmountable obstacle and is
paving the path toward ultimate
success in Hollywood.
The unprecedented visit to this
country of a prominent Indian
I figure to protest against unjust
and unwarranted productions deal-
; lng with Indian themes, such as
"Gunga Din," has taken the film
world by storm and is opening the
i eyes of sympathetic Americans to
the true situation. Patel's inva-
sion of "the enemy camp" the suc-
cessful manner in which he is tell -
ing the different studios "where
they get off" is raising the estima-
tion of India in the eyes of all who
come in contact with him or who
read about the purpose for which
he is here.
India Fights Back
The American people are known
for their quick support for the un-
derdog in any situation. For that
reason they relish the idea of a
spokesman for India coming to
these shores to state her case. The
fact that such a visit has been
made for the first time in the his-
tory of the motion picture indus-
try, and by such a personable
figure as Patel, is certain to drive
home to the American mind the
full seriousness of India's rising
indignation against defamatory
films.
It appeals to the American senst:
of justice and fair play to support;
Patel's mission. For India is strug-
gling for independence and needs
the sympathetic understanding of
\ WHAT THE AMERICAN 1
PRESS SAID!
NEW YORK TIMES:
"Mr. Patel is in this city
to protest against the un- !
[ sympathetic treatment ac-
; corded to the Indians in ;
several recent pictures."
; NEW YORK POST:
• "The main point in Mr.
', Patel's mission is to win !
; the assurance of Holly- \
wocd executives that In-
dian advisers will be con-
suited during the filming ',
■ of productions with Indian ]
themes."
; DAILY WORKER:
"Let us hope that Mr.
I Patel's presence in America 1
[ will mark the beginning of ]
a new epoch of decent films
about India."
the nations of the world to effec-
tively achieve this goal. Motion
pictures depicting the true India
can be invaluable propaganda. So
when India fights back on this
score America applauds.
Patel Honoured at World's Fair
The Indian spokesman has been
following such a crowded work-
ing-day schedule that he was un-
able to pay a visit to the specta-
cular World's Fair on Long Island
until September 7, ten days after
he landed here on the "Norman-
die." On that day he was the ho-
noured guest at Projectionist Day
exercises held in the Special
Events Building. The genial film
journalist of India was greeted at
the Fair by Nathan D. Golden,
Chief of the Motion Picture Divi-
sion of the U.S. Department ot
Commerce.
Mr. Golden informed Mr. Patei
that he would be happy to aid the
Indian people in their agitation
against slanderous films by issu-
ing an official memorandum to the
Hollywood studios. He was obvi-
ously impressed with Mr. Patel's
concise and straightforward pre-
sentation of India's complaint and,
after reading the letter sent to Mr.
Patel by Lord Zetland, Secretary
of State for India, promised to use
his good offices to halt further of-
fensive productions.
Hays Office Lends Respectful Ear
Major Frederick L. Herron, head
of the Foreign Department for the
Will Hays Office, met Mr. Patel for
a conference that lasted more than
two hours. The Major expressed
regrets that Mr. Hays was out of
town but hoped that he would be
in Hollywood when Mr. Patel ar-
rives there. He listened respect-
fully to Mr. Patel's word picture of
India's indignant and properly re-
sentful attitude towards distor-
tions of her culture and traditions
in Hollywood films and admitted
that India's position was entirely
correct. He, too, promised his co-
operation to rectify this situation
and notified the Hollywood office
to see that Mr. Patel conveys his
legitimate complaint to the lead-
ing producers there.
Motoring to Hollywood
Having completed his program-
me in New York. Mr. Patel
leaves today by motor to Holly-
wood in order to continue his pro-
paganda in key cities en route.
Another meeting has been
arranged for Mr. Patel in Holly-
wood. His pleasing personality
has won for India a host of new
friends, and even the representa-
tives of film companies, like War-
ners, R.K.O.. 20th Century-Fox,
Paramount, and Republic have
told him they hope he will come
back to the States again in the
not too distant future.
19
Hhmad flbbas Writes R Letter to
mahatma Gandhi
;spectful congratulations on
happy occasion of your 71st
iday.
crave your forgiveness for in-
ing upon your time at a mc-
t when greater issues of war
peace claim your undivided
ntion.
at, war or no war, the unceas-
flow of life must go on in all its
erous channels. Even under
1-fire men must love and be
d, make friends and seek corn-
ship, laugh and make others
h, entertain and be enter-
ed.
ad, as before, children must
1 to their fathers with their
plems and their troubles. To
im shall we, the sons of India,
for consolation and guidance
to you — you whom we have
ie to love and honour like a
per? Today I bring for your
itiny — and approval! — a new toy
generation has learnt to play
1— the CINEMA!
Ji two of your recent statements
|ave been surprised and pained
1 find Cinema mentioned in
lat appears to me) slightly con-
.ptuous terms.
i reply to a request from the
/ editor of a Bombay journal
a message on the occasion of
Indian Motion Picture Con-
3S, you briefly stated that you
er saw pictures. In a more
mt statement you include
5ma among evils like gambling,
;a, horse-racing, etc., which you
Ud like to banish but which you
/e alone 'for fear of losing
te.'
fow if these ctatements had
ie from any other person, it
5 not necessary to be worried
>ut them. After all individual
tes must be conceded. My own
her never sees films and regards
m as an imported vice from the
st. I respect his opinion even
though I may not be able to share
it. But your case is different. In
view of the great position ,you hold
in this country— and, I may say.
in the World — even the slightest
expression of your opinion carries
much weight with millions of
people. I have no doubt that a
large number of conservative and
orthodox persons in the country
will be confirmed in their hostile
attitude towards the Cinema after
reading your statement. "There
must be some great evil in cinema
if the Mahatma does not approve
of it," they would say. And one
of the world's most useful inven-
tions would be allowed to be dis-
carded or (what is worse) left
alone to b3 abused by unscrupu-
lous people!
I have no knowledge of how you
cams to have such a poor opinion
of the cinema. I don't
know even if you have
ever cared to see a motion
picture. I can only imagine that,
rushing from one political meeting
to another, you chanced to catch
a glimpse of some lewd cinema
posters that disfigure the city walls
and concluded that all the films
are evil and that the cinema is a
playhouse of the devil.
I frankly confess that there are
many films that are morally as
well as artistically bad. Their pro-
ducers exploit the baser passions ol
man to make money.
I also confess that you and most
of those of ycur generation will not
like the playful romanticism that
my generation gloats over m most
films. I do not wish to discuss
this here. No two generations have
ever agreed in their social outlook
and never shall. The concept or
morality changes from age to age.
A hundred years ago it was sinful
to cross the seas. Fifty years ago
it was immoral for a woman to be
seen talking to a man. Today all
that is changed.
The attraction of the opposite
sexes is one of the fundamental
facts of life. Men and women have
loved each other ever since the
time of Adam and Eve. And,
believe me, it is not in the power
of average human beings to grasp
the subtle differentiation between
physical attraction and spiritual
love.
In any case, here I am not plead-
ing for romantic films. I do not
expect you to see them or even
approve of them. All that I wish
to say is that cinema is an art, a
medium of expression, and there-
fore it is unfair to condemn it
because of the questionable char-
acter of some (or most) of the
films.
After all, books are not to be
condemned because they include
treatises on pornography.
The marvellous invention of
wireless (which kept the recent
historic meeting of the Congress
Working Committee informed of
world happenings up to the last
moment) is not to be condemned
because the All India Radio often
broadcasts love songs and romantic
duets. On the same radio one may
hear recitations from Bhagvad
Gita and the Holy Quran.
The aeroplane which has revolu-
tionized world transport and is
often used to rush medical sup-
plies does not deserve to be
abolished because Hitler uses it to
bomb innocent human beings.
None of these inventions
are bad in themselves though
unscrpulous persons may ex-
ploit them for undesirable pur-
poses. But then unscrupulous
21
FILMINDIA
SANT TUKARAM - The screen
carried his uplifting message to
millions all over the country.
men have abused and exploited
even such noble institutions as
religion and patriotism! Religion
does not become bad simply be-
cause billions of human beings
have been killed in its name and
patriotism is still a virtue even if
jingoes have waged imperialistic
wars for supposedly patriotic pur-
poses.
Then why brand the cinema as
evil when, properly used, it can be
an instrument of much good in
this world?
There seems to be a general im-
pression (and I fear that you have
been led to share it) that the
Cinema films exclusively deal with
sex and love themes. I am not
surprised that such an impression
exists because until recently it was
true and, in the case of India, it
is still largely true.
But in a few lines I wish to
sketch briefly for your informa-
tion some of the social and educa-
tional activities carried on through
films in foreign countries.
Education: In most western
countries visual instruction in
Science, Natural History, Geogra-
phy, History, etc., is imparted
through the screen to supplement
the text-books and lectures.
News: News-reels, often flashed
on the screens within a few hours
of important happenings, bring a
22
visual record of events of political
and general interest before the
cinema-goers.
General Knowledge: Short films
on such diverse topics as Science.
Lives of great persons, Travel.
Household management, Hygiene,
Cooking, etc., are regularly shown
with entertainment films.
Anti-Crime: The crime wave in
U. S. A. has been appreciably
checked by exposing crime methods
in such films as the "Crime Does
Not Pay" series.
Political Information: "March of
Time" is a new feature which
brings a pictorial record of world
events, so assembled that each
feature provides intelligent infor-
mation on some vital political pro-
blem of world interest — e.g.,
American Foreign Policy, Japan's
Spencer Tracy as the idealist who
created "Boys' Town"
Problems, The New Turkey, Present
Situation in Mexico, etc.
Then I may also mention some
of the most inspiring 'documentary'
films about China and Spain that
were recently shown in India.
These are, of course, what may
be called the extra-entertainment,
non-commercial films but the de-
mand for them is increasing and a
considerable part of the program-
me in cinemas is being taken up
by such useful films.
But even among entertainment
films the socially useful and
October 1
Paul Muni as Emile Zola, tr|l
great fighter for justice.
morally uplifting element i
steadily on the increase. I J
below a list of only a few wesw
— and Indian — films which are I
exceptionable even from the vil
point of the strictest moralist]]
am sure if you saw them, 1
would have nothing but praise ]
them. I may add that each I
them has been very popular t«
literally millions of cinema-gcij
all over the world have seen thn
Life Of Louis Pasteur: The stS
of the great scientist and humaji
tarian who discovered the cure I
rabies (American).
Life of Emile Zola: The inspiri
story of the great French wril
and fighter for justice. (Americ:
Boys Town: The story of a nd
clergyman's efforts to reda
derelict children. (American)
Lost Horizon: A plea for n<
violence and absence of conflict
the only cure for the World's i
(It reminded everyone of many
your teachings and was perh;
inspired by them!) (American)
Juarez: The story of the Mexk
hero who liberated his coun
from foreign rule (American).
Sant Tukaram: A beautiful di
matization of the life of the Mar
rashtrian poet-saint, (Indian)
iber 1939
FILMINDIA
int Tu'sidas: Based on the life
he great poet who gave India
gospel of Ramayana in the
onal language (Indian).
eta: An epic film based on the
story of Rama and Seeta
iian)
idyapati: A beautiful story of a
it poet and Ram-bhakt.
Iian)
nma Bhoomi and Dharti Mata:
imendable attempts at depict -
the problems and life of rural
a (Indian).
dmi: A brilliant drama of a
n woman's brave fight for re-
ling her lost soul and the social
es involved. (Indian)
ad do you know, Mahatmaji,
some patriots are endeavour-
to produce a film record of
own inspiring life?
ou may find it difficult to be-
but I sincerely hold that the
ional movement led by you has
irectly caussd much purifica-
tion and regeneration in the realm
of the Indian cinema. By giving
back to us our national self-res-
pect you caused a tremendous cul-
tural upsurge and revitalization of
national art which has been natu-
rally reflected in better and more
socially useful films.
That is why I believe it is not
an unpardonable impertinence to
depict you as "leading the Nation"
— even in the realm of motion
picture art!
It has been possible to produce
such pictures because a small but
happily increasing group of honest
and socially conscious people have
started taking interest in films.
Ten years ago such films were not
produced because the educated and
'respectable' folk looked down upon
the cinema as something evil and
loathsome.
Today those earlier prejudices
are breaking down. The 'cleansing'
of the Indian films will be in
direct proportion to the number of
honest and responsible people who
are able to take the place of ignor-
ant profiteers who dominated the
industry for so many years.
We want more decent people to
take interest in this industry, so
that it becomes an instrument of
social good rather than a tamasha.
But these people may be discour-
aged and kept away if you and
other great men like you continue
to count the Cinema among such
vices as gambling and drinking.
You are a great soul, Bapu. In
your heart there is no room for
prejudice. Give this little toy of
ours, the Cinema, which is not so
useless as it looks, a little of your
attention and bless it with a smile
of toleration
Respectfully and
affectionately yours,
CAST
iree
amab
III
lar Kamanna
KECTION:
Watch for
SARASWATI'S NEXT
! BOOKINGS:
APURCHAND LTD.
W QUEEN'S ROAD. BOMBAY - 4
23
What Men and Women said after seein
" ADMI"
Anglo-Indian Girl : ft Unkind but how true V*
Film Director : " I wish 1 could direct a picture like this
Film Producer : " I am proud of this achievement of the Indian
film industry
Film Star : " Better to starve and act in such a picture
than get a thousand rupees a month
Hotel Boy : " If only I could sing like Ram Marathe I
would sell a hundred cups of tea every day!
But then why should I he a Baharwalla
at all?"
Journalist : " Hold that front page, hoys I I have got a
scoop
Love-Sick Youth : " I am cured ".
Parasite : " Sali, mujh ko koi aisi nahin milti jo sat
zaban men gai."
Policeman No. 255 : (patrolling near Central Cinema) : "OH, hell,
how did they put me into this picture V
Policeman's Wife : " Now I know why my husband prefers to be
on night duty
Student :
" I begin to study Life now ".
BABURAO PENDHARKER —
The greatest and most consistent artiste of the Indian Film Industry, he has
always lived his part; in his recent picture "In Search of Happiness" he has
climbed the rarefied heights of enduring fame. He is the artiste and the
gentleman who is SECOND TO NONE.
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ROUND THE TOWN
KAPAL KUNDALA
Produced by: New Theatres Ltd.,
— Story by: Bankim Chatter ji —
Direction: Phani Mazumdar — Dia-
logues and Songs: Shore and Arzu
— Music Direction: Pankaj Mullick
— Cinematography: Dilip Gupta —
Audiography: Sham Sunder Ghosh.
Cast: Leela Desai, Najam, Kamlesh
Jagdish, Panna, Pankaj Mullick,
etc. Released at Roxy, Bombay —
Date of Release: 16th September
1939.
Unless B. N. Sircar stops such
fatal experiments as entrusting an
important picture like "Kapal
Kundala" to mediocre directors like
Phani Mazumdar we are afraid the
New Theatres reputation (built on
such masterpieces as "Devadas",
"Vidyapati" and "Bari Didi' ) will
be seriously impaired. Judging
from ordinary standards "Kapal
Kundala" may be 'not a bad
picture,' but it certainly falls short
of the standards created by New
Theatres' own productions.
The Story: The late Bankim
Chandra Chatterji, the celebrated
author of Bengal who wrote the
immortal lines of the 'Bande
Matram' song, wrote the original
'Kapa! Kundala' on which the
present film is based. But it ap-
pears that Mani Dutta who wrote
the screen adaptation and Phani
Mazumdar who was responsible for
scenario, have both misunderstood
and consequently misrepresented
the original story which was the
psychological portrait of a child of
nature, a girl brought up by a
Kapalik far away from the com-
plexities of the world, a girl who
was more at home playing with the
waves of the sea than in human
company and who did not even
understand the meaning of Love.
This characterization was placed,
for effect, against the back-ground
of the Seventeenth Century Bengal
— when human sacrifices were still
made at the altar of the goddess
Kali, when sailing boats dared the
capricious seas, when the influence
of the Moghal emperors of Delhi
ABBAS ON THE
AIR!
To Broadcast Review of
Indian Films
Mr. K. Ahmad Abbas, the
Film Critic of "The Bom-
bay Chronicle" and a regu-
lar contributor to "Film-
india" will broadcast a re-
view of Indian Films (in
Hindustani) from the
Bombay Station of the All
India Radio on 27th Octo-
ber.
Ratanbai in Supreme Pictures'
mighty epic Ghazi Salahuddin.
was disturbing the placidity of
social and cultural life even in
distant Bengal. Phani Mazumdar
has invested the story of the
rationalist author with an un-
necessary and irrelevant mystical
air. Strange heavenly sounds keep
calling Kapal Kundala who seems
to be living in perpetual dread of
some supernatural phenomena.
Even the clap-trap of the Kapalik's
sandals has been given an eerie
significance.
Performances: Leela Desai has
done unexpectedly well in a role
which is quite different from the
roles she has played so far.
Najmul Hasan shows marked im-
provement and proves that he can
Rajput chivalry lives again in the
role of Sangramsingh played by
veteran Sohrab Modi in Minerva's
"Pukar", one of the year's out-
standing box-office 'hits'.
sing well. Kamlesh Kumari acts
with sensitive restraint and dances
with her characteristic grace. The
piece de resistance of the film,
however, are the two songs by that
versatile musical genius, Pankaj
Mullick.
Production: With such an excel-
lent cast it is a pity the Director
has utterly failed to produce a
better picture. The scenario is
fundamentally weak and, except in
one or two scenes, editing has not
helped. Sound recording is excel-
lent but photography is not up to
the level of "Vidyapati" or "Dush-
man." The musical score (by
Pankaj Mullick) is throughout im-
pressive.
Points of Appeal: The name of
Bankim Babu, the reputation of
New Theatres, the songs of Pankaj
Mullick and dances of Kamlesh
Kumari may, to some extent, draw
crowds — despite Phani Mazumdar's
marked failure.
COMRADES
Produced by: The Sagar Movie-
tone Co. — Story by: Babubhai
Mehta;— Direction: Nandlal Jash-
vantlal — Dialogues: Zia Sarhady —
Songs: Zia Sarhady and Kanniya
Lai — Music Direction: Anil Biswas
—Cinematography: Faredoon Irani
—Audiography: C. Biggs and
Chandrakant Pandya: Cast:
Surendra, Maya, Harish, Jyotl,
29
It All Began Thus
In The Examination Hail /
SHE WAS SITTINQ JUST BEHIND HIM &
HE SNATCHED HER HAND-KERCHIEF J
He handed it back to her with the inscription
"I lioue you" and thought the wooing was over !
£tt the. Yftadt Hiiauout Qotnedy,
POOR-
HEARTS
or Bhole' — Bhale'
Sagar's flew Surprise in Screen Entertainment
Starring : MAYA, BIBBO, PREM ADIB, ARUN
with ADVANI, JYOTI, KANAYALAL.
Directed by :- ZIA SARHADI
(lowing PATHE
Now Showing at p \ T H E
Sugar's CCMCAD CS
ORJIVAN SAIHI
October 1939
FILMINDIA
Jilloo, Sankatha Kayamali, Bhudo
Advani, Jamu Patel — Released at
Pathe Cinema — Date of Release:
2nd September 1939.
It is one of the paradoxes of the
film industry that while the un-
pretentious and modest "Sadhana"
scored so well, Sagar's more ambi-
tiously planned and boosted
"Comrades" did not come up to
expectations.
The Story: It is the old, old story
of two brothers (Jatin and Kiran)
Who love the same girl (Rekha).
All the three are supposed to be
great friends, devoted "Comrades."
The girl seems to be on terms of
intimacy with both the brothers,
more so with the elder brother
Jatin. One day Jatin overhears
Kiran making love to Rekha. A
storm intervenes, the radio-set is
miraculously tuned-in to the
correct station and the voice
of a radio singer beckons
him to the path of sacrifice.
He must renounce his love for the
sake of his brother. How noble!
But, instead of quietly leaving the
home, Jatin indulges in most
amazing orgies of drinking and
loose living which are so comical
that the sacrifice motif is com-
pletely clouded over. Turned out
of the family by his father, Jatin
becomes a thief. He robs his own
A broom in hand and submission
in her eyes — that's Gohar in
'Achhut'.
family, causes a poor innocent girl
(Jyoti) to leave her home for his
sake, treats her brutally, is inevit-
ably involved in a motor accident
and flirts with the nurses and
generally behaves like a scamp.
In the end, however, we are as-
sured that he was all the time
pure like a saint and he had been
doing all this only to convince
Rekha of his worthlessness so that
she may marry the other brother.
Pathos is piled thick in the latter
sequences, there is a storm number
two, the other brother has to fall
down a staircase and the good old
bandages are put round his head
this time. The "Comrades" are
happily re-united and everyone
lives happily ever after.
Performances: Jyoti who seems
to have improved greatly since her
last appearance in "The Only Way"
shares the acting honours with
Surendra who is better in the
serious than in the lighter sequen-
ces. Maya, vivacious in the gayer
moments, cannot cope with tragic
situations. Harish may improve
under better direction.
Production: With better scenario,
direction and editing the story
could have been made into a better
picture. The director's attempts
at original cross-cuts and angles
FILMINDIA
October 1939
have made the whole thing jerky.
Photography is excellent, sound-
recording not so good.
Points of Appeal: Sagar's trade
name plus the star value of
Surendra and the songs he and
Jyoti sing may ensure a moderate
success for this picture
ADMI
(or "Life's for Living)
Produced by: The Prabhat Film
Co., - Story by: A. Bhaskar Rao -
Direction: V. Shantaram - Dia-
logues and Songs: Anant Kanekar
and Munshi Ajiz - Music Direc-
tion: Master Krishna Rao - Cine-
matography: V. Avadhoot - Audio-
graphy: S. Damle - Cast: Shanta
Hublikar, Shahu Modak, Bai Sun-
drabai, Buwa Saheb, Ram Marathe,
Chhottu, Gouri etc., - Released at:
The Central Cinema, Bombay -
Date of Release: 9th September
1939.
This is undoubtedly the finest
picture produced by any Indian
Studio this year. After two years,
Shantaram has come out with a
real winner. For the social signi-
ficance of its subject matter, the
realism of its treatment, the per-
fection of its technique and the
wealth of gripping dramatic ele-
ments, "Admi" will be difficult to
surpass. In the opinion of many
independent observers it is better
than any other film seen this year
in India — not excluding 'hits' from
Hollywood, England. France and
Russia!
The Story of this film can be
summed up in a few words. Moti,
a young policeman, the sen of a
pious religious-minded but kind
and gentle old woman, falls in
love with Kesar, a 'song-and-danoe
girl' who has been forced into this
life by fores of circumstances and
who desperately wants to abandon
this life. They decide to get mar-
ried. Moti's mother, a simple soul,
gives her permission — not knowing
the antecedents of Kesar. At the
last moment, however, Kesar rea-
lizes that in such a pious house-
hold she would not fit in. She
leaves the town. Moti, at first
tempted to behave like all frus-
trated lovers, is saved by the com-
monsense advice of his colleague
and friend, Meghram. Meanwhile
tragedy that has been dogging the
footsteps of Kesar overtakes her.
To judge "Admi" from this story
would be like judging the beauty
of a human form from an X-Ray
photograph showing only the ske-
leton of bones. It is the clever
scenario of Bhaskar Rao that has
endowed the story with a rich and
stimulating variety of incident and
given it point and purpose. And
Shantaram's direction has breath-
ed into it a soul — the soul of Man!
Mr. Carl Laemmle Sr. whose death
occurred at the age of 74.
A series of real-life characters
move across the screen and the
men and women in the audience
may well say to themselves, "That's
me. That's me".
Moti, raw young man and obedi-
ent son, at once the coward and
the hero, who keeps on justifying
his moral cowardice by saying,
"After all I am an Admi", until
Meghram reminds him "Don't for-
get you are an Admi!" These arr
the only two occasions on whicl1
the word "Admi" is used in th(
dialogues. And yet they are suf-
ficient to reveal the entire psycho-
logy of Man who has within him
both the instincts of cowardice
and heroism.
Kesar is a 'Song and Dance girl*.
But she has a heart and a brain.
She feels the indignity and humi-
liation of her position in life. She
also understands (as few fallen
women do) that she has been ths
victim of cruel circumstances and
that fundamentally she is as good I
as any other human beinj. She I
upholds her self-respect by using I
irony and a healthy cynicism. But I
a human being is but a part of I
the social system and ultimately I
she has to voluntarily accept So- I
ciety's unspoken verdict on herself. I
There are other interesting and I
significant characterizations - I
Mannu. the boy of the slums; I
Meghram and his wife, represent- I
ing love as the masses of India un- I
derstand it; Moti's mother-pious, I
gentle, affectionate and superstl- I
tious, a typical Indian mother; I
and the blood-sucking parasite to I
whom Kesar represents a perpetual I
source of money for drink. As va-
riegated an assortment as you will
invariably find in life itself.
Performances: The hero of the I
film is none else but Shantaram
who has succeeded in getting uni-
formly good work out of his artis-
tes. Shanta Hublikar who had
not created a great impression in
"My Son", rises to heights of his-
trionic triumph in the role of Ke-
sar. She brings to this characteri-
zation a wistful charm, a sparkl-
ing vivacity which has yet the
tracss of a tortured soul within, a
natural gift for music. Her "Kis
Liye Kal Ki Bat" song, sung in six
languages (Hindustani. Gujarati,
Eengali, Punjabi, Tamil and Telu-
gu) will win her millions of fans
from Kumbakonam to Rawalpindi,
from Ahmedabad to Calcutta. Sha-
hu Modak. appropriately 'soft' and
boyish, reveals outstanding histrio-
nic ability. Bai Sundrabai's songs,
especially "Man Papi Bhula Kaun I
Ise Samjhaye'?" will be rummed, I
all over India. Buwa Saheb is I
'natural' for raising laughs and I
Gouri is already known for her. I
characteristization of an unsophis- I
ticated Indian housewife. The sur- j
prise of the film is provided by I
32
FILMINDIA
Ram Marathe who. as Mannu,
turns out a memorable perform-
ance and comes very near to steal-
ing the show.
Production: All ambitious Direc-
tors, Cameramen and film editors
ought to see "Admi" over and over
again. They will learn a let. The
technique - particularly in photo-
graphy, editing and montage - is
years ahead of the average Indian
pictures. Excitingly original re-
sults have also been obtained by
simple manipulations of the sound-
track - e.g. by eliminating the
sound altogether from certain
scenes! Kesar's song m the Jun-
gle with the villager's chorus in the
background provides an interesting
idea in montage of the sound.
Points of Appeal: There is
plenty of entertainment in the pic-
ture even for those who cannot
stomach a 'serious' picture. The
songs, particularly the sensational
multi-lingual one, are a rare mu-
sical treat while certain brilliant
satirical pieces will throw any
audience into fits of laughter. Add
to this the name of Shantaram
and the reputation of Prabhat and
you have a picture that will satisfy
the most fastidious cine-goer and
gladden the heart of the gloomiest
exhibitor.
THIRUNEELAKANTAR
(Whenever possible we shall en-
deavour to publish reviews of im-
portant South Indian pictures. The
following review is contributed by
Mr. K. A. Chidambaram, a well-
known Art Critic and News Editor
of "The Bombay Chronicle." — Edi-
tor, Filmindia).
"Thiruneelakantar" a Tamil my-
thological picture produced by the
Thyagaraj Films Ltd., Trichinopoly,
had a week's run at Plaza, Bom-
bay, in the second week of Sep-
tember before packed houses of
South Indians. Mr. K. Subrama-
niam's experiment of giving a
week's run for a Tamil picture in
Bombay was followed in this case
with remarkable box office suc-
cess.
The Story is a devotional
theme and centres on the rustic
surroundings of a potter and pot-
ter's wife, who as living exponents
of the 'Bakhti-marga' cult come
cut successful through the ordeals
set up by Lord Shiva and are ac-
claimed as the God's chosen ones.
The story, in spite of its ascetic
ideology, has romantic and love
episodes which are equally grip-
ping. Mr. M. K. Thyagaraj a Bha-
gavatar who plays the title role as
the Saint has struck form and ex-
cels his own roles in "Chintamani"
and "Ambikapati" which made him
the idol of cine fans. He is ably
supported by Papa Lakshmikan-
tham as Neela the potter's wife, S.
S. Rajamani as the danseuse who
infatuates him, and Sirukalathur
Sama who plays the 'divine villain'
of the piece. Mr. Bhagavathar re-
gales us with plethora of songs of
a high order, though they lack the
'Chintamani Kick' about them.
The procession of deities, ele-
phants, drummers, cymbalists, Na-
daswaram players, temple bells and
belles, dancers, danseuse and Deva-
dasis bring before our mind's eye
the glory that was Ind.
The producers deserve praise for
the success they have achieved, but
they have missed a grand oppor-
tunity of producing what would
have been the 'greatest document-
ary' of South India. More than
'Nandanar', 'Thiruneelakantar'
October 19:
should reveal the glory of Chidan
baram, the centre of light ar
learning and the birth place
Shiva's Nadana, Nardana and Tai
dav dances. Mr. Bimalendu Bos
a keen student and exponent
Indian dancing once told the wr
ter that he would exchange tl
whole world for the Eastern Towi
of Chidambaram which is a repi
sitcry of the dance wealth of Ii
dia. It is a pity that the prodi
cers have not freely drawn fro:
•these sources to give us some
the sculptured poses of "Bhara
natya", art and technique,
would have fitted in well with tl
temple dance scene, and at tl
same time would have given tl
film an international appeal. Ch
dambaram is not merely a cit
but a City State of the old Gret
type with its peculiar temple pol
ty called "Sabha rule". The pr<
ducers should have sought the a
operation of the temple author
ties for at least one shot of tl
"Deekshatha Sabha" for the cou
scene.
Now that South Indian prodi
cers have taken in hand big histc'
rical films like "Chandragupt
and "Sankaracharya", a new mf
thod of approach and a new sen:
of value of the documentary ar
artistic are all the more necessar
Take it easy Charlie — Sitara is not the dame to come into your
clutches so soon! A scene from Sardar Chandulal Shah's 'Achhut'. I
Remember it is PRABHAT on "YOUNG INDIA"
Hear Sweet SUA AT A HIBIIKAB, Sing Sonorous Songs
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THRILLS FOR YOUR EARS!
Shanta Hublikar stht gra*ferc
M.P. 573 [ Kashala Udyachi Bat
Shanta Hublikar -^ifen frar^:
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Shanta Hublikar psfoa:
1 T^PTTST^ *.cri*r cuTT !
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Shaita Hublikar ^TfrTT ^«n*<
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Ati Absorbing Romance Thrillingly Told 1
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1 " JAWANI-KI-RIT "
Sparkling with Brilliant Dialogue,
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Direction : Sjt. Hemchunder
Starring :
Kanan Devi,
Najam, Nawab, Menakal
Nemo & Jagdeesh etc
(A CIRCO production!
Music : Sjt. R. C. Boral
Adapted From the Famons Novel
2 PRIYA BANDHVI
PRINCE P C BARUA
THE PRINCE CHARMING OF FILM-TECHNIQUE
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ablocLated ploducUant ltd.1 6
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Direction :
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Sjt. K. C. Dey
Starring :
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Molina, AAenaka, M a n j u
Mitra, Muzamil and K. C. Dey
Releasing Organisation*
CALCUTTA FILM I101ANO1,
TINWALA BUILDING. TRIBHUVAN STREET, BOMBAY 4.1]
FOR THE TECHNICIANS
Gsseciatie
n
|l|yjenacing clouds of war
Khreaten the industry and if we
lire to save it from an inevitable
Iind an early death we must rally
Bound and forget our mutual
differences and devise a common
emedy.
But there must be no trace of
.elfish motives actuating us,
leither any disregard of the other
vorker nor the feeling of everyone
or himself and no one for every-
>ody. It is that personal aspect of
?o-ordmation, which did not
egitimately fall within the scope of
mr last article, it may not even be
•xactly denned as Co-ordination,
>ut call it what you will, what we
nean is the sacrifice of all per-
onal ends, a policy of one for all
ind all for one. It is this, that
nust come forward and help us to
ight the menace that threatens
»ur livelihoods today.
>OAP MANUFACTURE AND FILM
WORK
It is surprising therefore that the
rery first steps suggested towards
oeeting this contingency happened
o be a reduction of salaries of
workers. Of course such a sugges-
ion could hardly have been ex-
acted to be unanimous, but it has
lelped to reveal the mentality of
ome of us placed in more or less
esponsible positions of control in
he industry. In such a gathering
»f men purporting to call them-
elves the leaders of the industry,
here must necessarily be at least
few whosa clearer vision and
Teater insight can carry them be-
ond the mere prcblems in hand,
ind it is gratifying to note that it
/as one of these that put forward
dissenting note and pointed out
le fallacy of the remedy.
We have persistently been driv-
ng it home to thos3 whese busi-
ness it is to control such affairs,
through the medium of our puli-
ation, the Association's quarterly
iulletin, that the only possible
conomy lies in the control of our
roduction tima schedules.
A normal motion picture prn-
uction in India averages from 603
By The Editor
;| Qine Technicians
to 700 shots and calculating on an
average of 15 shots per working
day the shooting time schedule
should not exceed 45 days. If we
add to this another five days for
contingencies we have a maximum
of 50 days for the production of
any major film. When we come
to realise that the average number
of days taken today for even a
mediocre production is close to 70.
we will have an idea of the enor-
mous loss to which the producer
is put. A studio's expenses average
approximately Rs. 1000 per day
and 20 days means Rs. 20,000 per
production, an amount even a
fraction of which can never be
saved by salary reductions.
Exactly why there should be
these delays? For it is scarcely
fair to assume that these are deli-
berate wastes on time of the
part of the workers. Speaking on
behalf of our community it would
be idle to boast that the Techni-
cian is on duty 15 minutes before
any other member of the unit is
present on the set, and it is always
more than half an hour every day
that he is on the sat packing away
his things after every one has left.
The Director too, is mostly on a
contract job, or if he is not, there
are invariably other attractions
such as bonus, etc., that impells
him to be on duty in time, and he
is as eager if not more than any-
body else to finish his work quickly.
What then are the reasons?
KEEP THE SCRIPT READY
This is not the first time when
we have been compelled to stress
the importance of not only a com-
plete but proper script before the
start of actual production. Today
in India it is the Director whose
job it is to see that he has it and
to insist upon it. If he does not
do so he is wantonly throwing
away the money his producer has
entrusted him with. For he must
know what and when ha is to work,
his artistes and technicians must
be told their duties and be given
time for preparation and co-ordi-
nation, there must, in short, be no
(a
thinking on the floor, all that,
must be ready and complete.
Every artiste must know his lines,
every technician his set up, there
must be no delays in preparation.
There must only be time for exe-
cution on the set, and then only
can we hope for a shorter time
schedule.
But this can enly be when the
script in addition to all dialogues
and songs with their tunes, has a
complete description of each scene
— sketches of costumes and settings
with all details prepared in perfect
co-ordination with the different
departments concerned, a separate
list of process, montage or other
shots, and all other information
required by the production depart-
ment. Only whsn all this is com-
plete can a shooting schedule be
prepared possibly with regard to
the availability of the important
artistes, and then and then only
must production be taken in hand.
We admit all this takes time, but
it does not hold up other produc-
tions and Is therefore not a frac-
tion so costly of what it would be
if wcrk has started as it is now,
haphazardly. If we can save the
20 days thrown away today we will
have saved 20 per cent of a pro-
duction's cost making it unneces-
sary to seek other and possibly
doubtful avenues of economy. The
Association cf Cine Technicians of
India gives its assurance to the
leaders of the Industry of its
whole-hearted co-operation in this
or other measures of economy that
they may consider it expedient to
adopt, but at the same time it also
wishes to emphasize upon t^iem,
most emphatically, that this is a
time when petty selfish motives
even on their part must find no
place in such measures. They
must do what is good for all and
not what a short sighted policy
may seem to indicate to them as
gcod for themselves alone. The
Industry cannot afford to experi-
ment at such a juncture. Let
everything we do be for the good
cf all, and therein lies our salva-
tion.
39
THREE
GREAT ST ACS
IN THE MOST TOPICAL
FILM EVER SCREENED
IN INDIA--FOR INDIA
*
DEMOCRACY
DEPOSES TYRANNY !
HINDUSTAN'S great challenge to the
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Treachery, intrigue, oppression, thrills, sa-
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triumph of a people set free — the film no
Indian can afford to miss !
Starring
SHOBHANA, KHURSHEED,
PADMA, NAZIR, MUBARAK
and SINGH.
Directed by LUHAR Music by GH AZNAVI
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On The Front Against Anti'Indian Films
BABURAO PATEL'S APPEAL TO
SECRETARY OF STATE
Check Production of Slanderous Pictures In View of International Situation
LONDON, (By Mail).
During his recent stay here, Mr.
Baburao Patel, editor of "FILM-
INDIA" and the President of the
Film Journalists' Association of
India, addressed a memorial to the
Secretary of State for India on
the subject of anti-Indian films
which are from time to time pro-
duced in Britain and U.S.A.
The following are extracts from
the memorial: —
"The Secretary of State is no
doubt aware that recently one
British picture and another from
Hollywood— "DRUM" and "GUNGA
DIN" — have been banned by differ-
ent provincial governments in
India. This was in response to
vehement public protest as also
is the protest resolution passed
unanimously by the Indian Motion
Picture Congress at its session in
Bombay last April and under the
presidentship of Mr. S. Satyamur-
thy, Deputy Leader of the Con-
gress Party in the Central Legis-
latures.
UNFORTUNATE EFFECTS
After such emphatic protest one
would have expected that the pro-
ducers in this country and in
America would register some res-
traint but I regret to report that
the production schedules for the
next year have not been revised
and several Indian themes offering
opportunities for further deroga-
tion ot Indian character are about
to be produced by British and
American studios. I need not in
this connection point out to you
how very unfortunate is the effect
of such pictures on the relations
between this country and India.
They are, I may stress, specially
unfortunate at this juncture in
Indo-British history and in view
of the international situation
which calls for the closest sym-
pathy and understanding between
the two countries.
With a view to prevent a worsen-
ing of the situation, I appeal to
the Secretary of State for India,
both in his official and personal
Padma Devi and Ashiq Husein in
"Actress Kyon Bani" a Federal
Film Exchange release.
capacity, to look into this matter
personally and I shall be very
grateful on behalf of the Indian
Motion Picture Congress, to have
his assurance that he views the
submissions I have made with
sympathy and will do everything in
his power to discourage or prevent
the production of such pictures.
SUPPORT FROM AMERICA
"Film Survey," monthly organ of
Film Audiences for Democracy, an
organization of progressive film-
goers in U.S.A. writes: —
On occasion we have been criti-
cized for our comments on most
of the films about India. We have
usually maintained that these
movies were not only an untrue
picture of these people, but fur-
thermore, an open glorification ot
the very worst aspects of British
Imperialism. Gunga Din being
the most recent example. Our
critics have said ......
"You well may criticise these
films but do the Indian people feel
that way about it?" A very inter-
esting letter we received a few days
ago from Dharam Yash Dev backs
up our point of view to the hilt. . . .
Mr. Dev writes us: "These pictures,
as you know, represent anything
but India — and have given rise to
a great deal of resentment and
anger throughout my country.
And this anger is ever growing.
This misrepresentation and dis-
tortion of everything that is Indian
is not only offensive to the Indians
but also can have a demoralizing
effect on the outsiders too.
INDIA WILL BOYCOTT
"Of course, as long as India is a
subject country and is helpless to
do anything 'strong' about it, this
kind of propaganda will go on.
Today she has only one weapon
and that is of boycott. This has
been tried and with certain suc-
cess. However — this way lies dis-
aster and bitterness. And today
there is enough bitterness and
misunderstanding between nations,
races and 'cultures.'
45
v
TO BE RELEASED
IN BOMBAY
<
A "FILM CORPORATION" HINDI SOCIAL
THE HEART RENDING STORY OF A HEART-LESS DAME
featuring:
Ramola Devi, Gyani, Nand Kishore, Ram Dulari
Directed by: KEDAR SHARMA
ATTRACTIONS
1 DEUI (Hindi)
2 PRRTimR (Bengali)
3 QEDy (Hindi)
0C\ . A POET OF THE PEOPLE
1 mRHRTmn krbir
PRODUCTION
PROGRAMME
Revival of old culture, religion & philosophy thru' the immortal
Life History of Kabir with Pujya Pandit Omkar Nathji Thakur,
the Pride of India in the lead.
2 mRHnRHTHI KRRIMI
3 CHITRHbEIKH or RRRTRHI
Booking with
EMPIRE TALKIE DISTRIBUTORS
Sandhurst Road, Bombay-4.
filmindia's' GUIDE TO
No foreign film released this
nonth (25th August to 25th
September), can be really called
outstanding' or awarded three
Ltars. In Bombay at least, Indian
pictures ('like "Admi" and, from the
fcox-office view-point, "Pukar")
Jyere definitely on top.
Some outstanding American
pictures are soon expected which
nay be recommended in anticipa-
i0n_e.g., Warners' "Juarez" (Paul
Hum and Bette Davis) and
I G. M.'s "Good-bye, Mr. Chips"
Robert Donat and Greer Garson).
GOOD FOR AN EVENING'S
ENTERTAINMENT
TARZAN FINDS A SON (M.G.M.)
tarring the familiar team of
ohnny Weissmuller, and Maureen
•'Sullivan with a remarkable child
ohn Sheffield. Usual Tarzan
tirills, competently produced,
eautiful underwater swimming
enes plus the jungle tribes' drum-
eating and hocus pocus of human
icrifice.
YOUNG MR. LINCOLN (Twen-
eth Century — Fox) starring Henry
onda in the title role, with Alice
rady. There have been several
ictures about Abraham Lincoln
le President. This one depicts
incoln the youthful lawyer,
aster fully brought to life by
enry Fonda. Competent direc-
on by John Ford.
CALLING DR. KILDARE (M.O.
:.), starring Lionel Barrymore
id Lew Ayres with Larine Day,
ma Turner, Lynne Carver and
at Pendleton. Second of the
Kildare Series. Not so good as
the first.
LITTLE PRINCESS (Twentieth
Page, Jeffrey Lynn, Claude Rains.
No, it is not a sequal to "Four
Daughters" though the cast Is
practically the same. Sentimental
story of American family life. Not
Century-Fox), starring Shirley so good as "Four Daughters"
FOREIGN FILMS
Temple with Richard Greene,
Nancy Kelly and Ceaser Romero.
If you like Shirley you will like
this one, too. Romero puts on a
beard and appears as a loyal
"Hindu" servant of Shirley — an
OFF TO THE VILLAGE WELL—
Leela Chitnis in a scene from Bom-
bay Talkies latest film "Kangan".
unnecessary reminder of our
"loyalty" to the British Raj!
DAUGHTERS COURAGEOUS
(Warners)) featuring John Gar-
field with the Lane Sisters, Gale
GO ALONG IF YOU MUST
MAN IN THE IRON MASK
(United Artists— Edward Small
production)— Bad French history,
lavish production, fair acting by
Louis Hayward and Joan Bennet.
They say it is 'thrilling.*
MAN ABOUT TOWN (Para-
mount), Jack Benny gags, Dorothy
Lamour sings and displays those
famous legs, Edward Arnold acts
well.
WINTER CARNIVAL (United
Artists) Walter Wanger who pro-
duced "Cavalcade" and "Stage-
coach" ought to do better than
inflicting another pointless story
of American college life. Romantic
youths will find Ann Sheridan (the
"Oomph" girl) an eyeful.
ROSE OF WASHINGTON
SQUARE (Twentieth Century -Fox ) ,
starring Tyrone Power (Isn't he
the most over-worked actor in
Hollywood?), Alice Faye and Al
Johnson. The last two sing.
WASTE OF TIME
LUCKY NIGHT (M.G\M.) —
Robert Taylor and Myrna Loy
compete with each other in boring
the audience. Robert Taylor wins.
SUN NEVER SETS (Universal)—
Imperialist propaganda crudely,
badly done. Boring besides being
objectionable. Not dangerous be-
cause no one will see it.
47
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Also to be released at
HA J I A I If
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Directed by K. AMARNATH
Starring :
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MISS GULAB,
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Director :
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Starring :
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IALITADE VI
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KALYANI, W. KHAN
MIRZA MUSHARAF
Director HAFESJEE
GHHZI SHIiflHIIDDIN
THE SOUL STIRRING EPISODE OF MUSLIM HISTORY DEPICTING THE
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Constituting a record in professional activities and
enlisting 75 PRODUCERS as regular Customers
throughout the length and breadth of INDIA for
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WE are on the FORWARD MARCH in this century of Progress.
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(India's only INDEPENDENT Laboratory equipped with all modern devices for processing )
160, Tardeo, BOMBAY.
Telephone : 42350.
Telegrams : Famouscine.
STUDIO GbOSE-UPS
RANJIT FILM CO.
Sardar Chandulal Shah has com-
pleted his "Achhut" starring
Gohar; but he is not going to re-
lease the picture unless the War
situation improves. A wise step.
Sardar has taken.
Jayant Desai is forging ahead
With his 'India Today' featuring
Prithviraj, Rose and Charlie.
Abdul Rashid Kardar is handling
two subjects simultaneously — 'Hoh'
and 'Pagal,' featuring Madhuri
Prithviraj, Khurshid. etc., in the
lead.
Chaturbhuj Doshi has been en-
trusted with "The Doctor's Wife"
and is busy with the paDer work :i
the same.
"Good Luck" is ready and awaits
release.
SAGAR MOVIETONE
"Civil Marriage" and "Poor
Sweetheart" are lying ready for
release and as soon as "Comrades"
leaves the Pathe Screen the later
will take its place.
In the studio, Mehboob is fast
finishing off "Ali B3ba" in two
versions and Madhu Bose his
"Kumkum the Dancer."
BOMBAY TALKIES LTD.
"Kangan," their new picture,
with Leela Chitnis and Ashok
Kumar, has been completed and
will come on the screen very
shortly. They have already start-
ed producing another social subject
story from the pen of Sarandindu
annerji, with Leela Chitnis, Ashok
Kumar and Rama Shukul in the
leading roles.
SUPREME FILMS
'Ghazi Salahuddin" is fast near-
ing completion at the Ranjit
studic, featuring Ratan Bai, Gulam
Mahomed and Mazhar Khan in the
tead.
MOHAN PICTURES
Their much awaited and belated
picture "Swastik" has been seen
by the Censor Board again
md again, without coming
io a definite derision. It
is reported that the picture has
nothing to do with Nazism and that
the sign "Swastik" is the auspicious
sign of the Hindus since ages.
Their next "Black Heart" direct-
ed by A. M. Khan is almost ready.
K. Amarnath is busy finishing off
"Volunteer."
A book in hand and challenge in
her eyes — that's Gohar in 'Achhut'.
They have also produced a Tamil
Talkie "JAI BHARATI."
FEDERAL FILM EXCHANGE
This is a new concern and they
have begun well by taking the
distribution right of "Actress Kyon
Bani?" featuring Padma Devi, and
Ashiq Husein in the lead. The
picture has been directed by G. R.
Sethi.
Two more pictures that this firm
has purchased are "Dulhan" and
"Why?"
MINERVA MOVIETONE
Producer — Actor — Director — Pro-
prietor Sohrab Mcdi is much elated
at the huge success of his 'PUKAR';
congratulatory telegrams are pour-
ing in every day.
In the studio, Multani and Jagir-
dar are shooting "The Will" and
"Main Hari" respectively.
Sohrab Modi is hunting for new
faces for his next picture "Bha-
rosa" a story by Aghajani Kash-
miri.
FAMOUS FILMS
Mr. Shiraz of Famous Cine La-
boratory is contemplating to start
a new picture "Dharma Patni" in
two languages, viz., Telugu ana
Hindi and is expected to go into
production very shortly.
HINDUSTAN CINETONE:
Their maiden picture "Kaun-
Kisika" featuring Padma Devi. So-
bhana Samarth, Khurshid, Nazir,
Mubarak etc., was released last
week at the Imperial cinema and
the picture is reported to have
done good business. Their next
production "Mud", a powerful so-
cial story written by Mr. S. H.
Manto is nearing completion in the
studio.
POONA
PRABHAT FILM CO.
"Life's for Living" alias "Admi"
was released at the Central Cinema
to a huge audience. Director
Shantaram was present and almost
all the Bombay producers who saw
the picture were seen congratulat-
ing the genius of Prabhat.
The Marathi version of the
picture opened at Poona last week
at the Prabhat Talkies and is re-
ported to have broken their own
record of "DUNIYA NA MANE."
Mr. Shantaram is busy contem-
plating his next picture "Vasant
Sena" which will also be produced
in the English language for Inter-
national market. It is also bolieved
that before "Vasant Sena" be may
produce another social' picture.
51
October 1939
FILMINDIJ!
Messrs. Damle and Fatehlal will
soon start with their "Dnanyanesh-
war."
SARA SW ATI CINETONE
Dada Torney has completed "My
Beloved" featuring Jayshree,
Ratnamala, etc., in the lead. It is
a humorous story of a village girl
who goes to town and there are
lots of hillarious situations.
KOLHAPUR
HUNS PICTURES
The Marathi version of "IN
SEARCH OF HAPPINESS" has been
released at the Majestic Cinema.
The lead is played by that fine
actor Baburao Pendharkar, who
can rightly be called the most con-
sistent actor of the Indian screen
supported by Minakshee, Usha,
Vimal Sardesai, etc.
As usual with the Huns Pictures
we find excellent story, brilliant
photography, fine music and the
direction of the picture has been
done by P. Y. Altekar who has
several hits to his credit.
In the studio Master Vinayak
has started shooting of "The Better
Half" with himself, Leela Chitnis
and Baburao Pendharkar in the
lead.
ARUN PICTURES:
"Muhurt" with all due ceremo-
nies was performed at Saraswati
A player in Mohan Pictures' Tamil
Talkie "Jay Bharati"
Lalita in Supreme's Ghazi
Salahuddin
Cinetone Studios last week to in-
augurate the new production pro-
gramme of Arun Pictures. This
Company is launching two pictures
with powerful casts: "Gorakh" and
"Karna The Great", written and
directed by Mr. Bhal G. Pendhar-
kar. It is reliably learnt that both
the pictures will be produced in
two versions Hindi and Marathi,
the sole distribution rights are
controlled by Peerless Pictures,
Bombay.
CALCUTTA
NEW THEATRES LTD.
"Kapal Kundala" was released
at the Roxy Talkies. Bombay and
was accorded a good reception.
At the studios "Jawani-Ki-Reet"
is shot steadily. Kanan Bala and
Najam play leading roles.
FILM CORP. OF INDIA LTD.
'Dil-Hee-Toe-Hai" is awaiting
release at important stations.
Their next is "Devi" featuring
Monica Desai. Pandit Omkarnath
has been signed to play "Mahatma
Kabir."
DEB DUTT FILM LTD.
The full feature comedy "Patt
Bhuley" is reported to be progres
sing rapidly under the able direc
tion of veteran Director Mr. Dhirei
Gangulay.
SOUTH INDIA
VEL PICTURES LTD. (Madras).
Their mighty devotiona
"PANDURANGAN" is now readj
awaiting release. With an arraj
of such famous stars as Maharaja-
puram Krishnamoorthy, Vidwar
Srinivasan, Miss T. A. Mathuram
Miss P. S. Sivabagyam and others
playing the lead, the picture ought
to be a success. Much credit foi
the success of this film goes to Mr
M. T. Rajen.
SRI JAGDISH FILMS (Madras)
"MALLI PELLI" is in its finishing
stages at Newtone Studios. A
social with a message of its own.
The cast of this telugu talkie is
headed by such well-known players
like Miss Kanchanamala, Y. V. Rao,
Vidwan Srinivasan and others.
THYAGARAJ FILMS LTD. (Trichi-
nopoly)
"THIRUNEELAKANTAR" was
well received in Bombay. Mr. M.
K. Thyagaraja Bhagavathar in the
name rcle has given a very good
performance. So has Miss Papa
Lakshmikantam. Good music is a
feature of this film.
scene from Mohan Pictures'
"Black Heart".
Printed toy Camer Saleh at the New Jack Printing Works, 75, Apollo Street. Fort, and published by him
for "filmindia Publications Ltd." from 104, Apollo Street, Fort, Bombay.
THREE WOMEN figured
in this man's struggle
"III SEARCH OF HRPPIRESS"
Baburao Pendharkar as ANAND
Tins i> fifanifc, Anand** lawfully
wedded wife. The call of
"Social Service" was >o insistent
with her that she had no time to
he a housewife or a daughter in-
law—or even a wife !
Vtmal Sardesa! as lA ii'k
Usha Mantri as ChanchaU
"IN SEARCH of
HRPPIMSS"
Huns Pictures' Social Screen Play
Story : V. S. Khandekar
Direction: P. Y. A I \ e l< a r
Photography: Pandurang Naik
Do you know this glamorous
star'.'.MissCiianchala of Sahyadri
Cinetone! She was enamoured
of Anand and saw; that he left
his home to fall in her net. ■
But this poor little
w i d o w whom
Anand once saved
from suicide, saved
him and brought
the light of hope to
him. She took him
along the road to
happiness.
Meenakshee as Usha
A SOUL STIRRING SCREEN PLAY
Scarring :
• BABURAO PcNDHARKAR,
Meenakshee, Vimal Sardesai,
Usha Mantri, D. Malwankar,
Baby Shanta, -Jog, Girish and -••
Salvi.
Drawing packed houses at
MAJESTIC
CINEMA
GIRGAUM
Distributors :
Famous Pictures Ltd., BOMBAY 4.
Shree RANJIT Movitone's
Cjloiious (3onhibution 1owa\bs Tlational Cause I
A Clarion Call to Create
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is no Greater Religion
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IT'S BETTER THAN — SH A NTARAM'S BEST
ADHI
A burning social problem on the anvil of life, being shjt into an eloquent picture to reach the heart of millions
through their eyes and ears. And Shantaram has done it!
Starring: Mrs. Shantabai Hublikar - Shahu Modak - Buvasaheb - Gouri - Sunderabai etc.
Released thru:
FAMOUS PICTURES LTD.
Lamington Road, Rombay-4
REMEMBER IT'S
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Now Promise to give you Another Socio'M.ythological spectacle....
DNYAglSHWAR
It will be another PRABHA1 TriiimpJfo
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Released thru : FAMOUS PICTURES, LIMITED, Lamington Road. BOMBAY 4
• EoEMEMBER
It's Pjba
.BOAT®
ON THE COVER
K. \ ] .\.\ H.\l
THE TWO PRESIDENTS
"Thrice welcome" said Harry
Warner, President of Warner
Brothers to Baburao Patel, Presi-
dent of Film Journalists' Associa-
tion of India.
The two presidents had an hour to
themselves in the midst of the
I cocktail party which Mr. Warner
gave in honour of Mr. Patel at
which all the stars and the chief
studio executives were present. We
would soon know what they talked.
Annual subscription inland Rs. 5/
Foreign Rs. 8/- or Sh. 12.
Proprietors: Filmindia Publications Ltd., 104, Apollo Street, Fort, Bombay
Editor: BABURAO PATEL
Vol. 5 DECEMBER 1939 No. 12
I Return
Italy, indolent and hopeful— Austria, sad
and yet reckless— Hungary, trembling and yet
threatening — Germany, arrogant and efficient —
Switzerland, gentle and hospitable— France, riot-
ous and plebeian— Great Britain, frigid and
squeamish — America, boisterous and dollar crazy
— Hawaii, green and romantic — Japan, ambitious
and colourful — China, oppressed and poverty-
stricken — Straits Settlements, contented and sub-
missive— Ceylon, unenterprising and in bondage;
this is how I found the numerous countries I tra-
velled through in my recent world tour. And I
returned home to find India awake and aggres-
sive.
War! That one word has brought humanity
to a standstill. For twenty-five years they have
been building a new world on the ruins of old.
Now they are busy destroying what they built all
these years. That is how modern civilization
progresses — by conflict.
Some day, this war will also end and the
world will once again settle down seriously to
build anew, but till then, we, the peace loving
and non-fighting Indians will also be affected —
politically and economically.
In a hurry I left Europe, the theatre of the
present war, but its news chased me all round
the world. Ships were sunk ahead and behind,
floating sea-weeds became magnetic mines and
human imagination ran riot and gave birth to
several frightening rumours. But through all
these I returned home and to safety.
The world had its ear turned to Hitler's
dreadful war-song. They had hardly any time
to listen to India's complaint about films that
slandered India and her great people.
As a nation India is not on the map of the
world nor are the Indians in the minds of the
FILMINDIA
December 19
people of the world. With their subtle efficiency,
the British have successfully managed to keep
both our country and our people out of the
modern world. India is no news to any one in
the world.
Americans know Mahatma Gandhi more
than they know India. His mysticism puzzles
them, perhaps because such spiritual grandeur is
Photo taken on the occasion of the official recep-
tion given to Mr. Baburao Patel at the World's
Fair, New York. (Seated) Mr. Nathan D. Golden,
Chief of the Motion Picture Division of the U. S.
Department of Commerce and Mr. Baburao Patel.
(Standing) Mr. Joseph D. Basson, President of
Local 326.
denied to the average dollar-crazy American.
They asked a thousand questions about our
patriot saint and while giving them all the news
about him, I had to tell my grievance about the
anti-Indian films.
I had to shout, write and threaten. I did all
that to carry my quarrel to their heart and home.
From Alexander Korda in London to Harry
Warner in Hollywood, all were seen and told.
All listened sympathetically and anxiously. Sym-
pathetically, because, Americans are good sports-
men and anxiously, because, India is a good
potential market for American films.
I approached Lord Zetland, the Secretary
State for India and took an assurance from hii
Warmly welcoming me to the country, he ga
his full support to my mission and promised
do all in his power to prevent production of filr
that slander India.
Everyone seemed to understand and ever
one promised. Even genial George Stevens, tl
man who produced "Gunga Din" without ar
intention but merely for entertainment, saw tl
force of my arguments when I explained to hi
the reasons of our resentment. And George sai
"Next time I produce an Indian subject, I hoj
to please India."
They have all promised to nurse and safl
guard the national self-respect of our count/
and our countrymen. Time alone will pro^
whether we can rely upon the promises of tl
West.
Every country in the world received me wej
The journalists— my professional brothers (ar
there are numerous sisters in this profession t(|
in America) all over the world — went out
their way to give my mission a press break whid
would have been impossible in the present w^
times, had they not taken a personal interest
me.
I made friends by hundreds and they will r{
main friends of India to tell the world in the|
parts what a great country is India and how goc
are her people.
I have only one complaint. And that is thi
in London, the capital of our King Emperc
twentysix good hotels refused to give me lodJ
ings because I was an Indian. Englishmen ai
still as stupid as ever and believe in such pueril
demonstration of their supposed racial superioj
ity. The Germans who rain bombs on the
wives and children can enjoy the hospitality
any hotel in London, but the Indians who fee
and maintain the British prestige are denied tl
ordinary courtesy. After all one must admit thi
the world is still ruled by the invidious coloif
complex.
The propaganda value of my tour cannot
over-emphasised. Due to lectures and press i^
terviews, many people in different parts of tl
world are now anxious to see Indian films. It
up to our producers to show enterprise and gn
them our films when they want them — good filr
that will bear out all the grand description
gave of India and Indians.
And now I am glad I went but more
because I returned .
THE QUEEN RETURNS
Gohar the glorious, Queen
of Emotions returns to
reign once again in 'Achhut*
directed by Sardar Chan-
dulal Shah.
SAFETY FIRST!
Don't let that 'Harmless'
Scratch become Septic
The slightest scratch may become septic. Never
neglect it ! Apply Cuticura Ointment at once.
It is the finest possible safeguard against festering
and bloodpoisoning — the quickest, surest healer
of skin eruptions and injuries. Cuticura Ointment
kills any germ or poison you may pick up, and
keeps the rest away until the injury is safely and cleanly healed. For
safety's sake, always keep a tin of this unfailing healer.
Use Cuticura Ointment to relieve and heal
Dhobi's Itch, Prickly Heat, Ulcers.
Bad Legs, Pimples, Boils, Abscesses,
Eczema, Cuts, Burns. and Septic
Feslering Eruptions.
Sold by all Chemists and Bazars
For cleansing skin injuries and eru-
plions use CUTICURA SOAP. lis
extreme mildness makes it indispensable
to sufferers from skin troubles. All
who value appearance should make it
a daily habit to wash with Cuticura Soap.
Sample of Cuticura Ointment, Soap and Talcum
sent on receipt of 3 annas. Address: Muller &
Phipps (India) Ltd., P. O. Box 773, Bombay.
Copy No. 17
Bombay Gallincj
2 his section is the monopoly of "JUDAS" and he writes w)iat lie
likes and about things which he likes. The views expressed here are
not necessarily ours, but still they carry iveight because they are
written by a man who knows his job.
BRICKBAT—MADE OF SILVER.
And so at last the National Studios Ltd., has start-
ed functioning at the Film City with the phantoms of
a dozen production units to keep it company.
I was, of course, not invited to the function when
the "muhurat" ceremony ot Director Mehboob's picture
was performed — who wants 'Judas' at such auspicious
occasions ? But I hear a symbolic gift of a silver bri-
quette was given to Mehboob by the Board of Direc-
tors. It is also understood that Yusuf Fazalbhoy pre-
sented Mehboob a copy of the book "The Indian Film"
written by him and which Mehboob is now going to
read to learn film production from his new boss.
"AURAT" FOLLOWS "ADMI".
As usual with most Indian producers, the National
Studios also announced their production programme
in the advertisement columns of a famous Anglo-Indian
daily.
From this advertisement it is interesting to hear
that the title of Mehboob's first picture is "Aurat" (The
Woman). The story is by Babubhai Mehta of "The
Only Way" fame. According to the advertisement the
cast was to be "The like of which has never been as-
sembled before — The country's best talents will be in
it." The whole industry was on tenter hooks to find
who were these great artistes. Was it going to be a
round-up of Devika Rani, Jamuna, Motilal, Baburao
Pendharkar, Chandramohan — all in one picture ? Or
was it going to be a group of sensational new "finds"
destined for stardom overnight ? And now I give you
twenty guesses to tell me who are in the cast No
you can't guess them. They are Sardar Akhtar, Suren-
dra and Arun !!!
ATATURK, NOT A PASHA
The same studios have also announced two other
pictures, "Hyder Ali, Tiger of Mysore" and "Ataturk —
Kamal Pasha", both to be directed by Mehboob. I
think Mehboob is a good Director but I have serious
doubts if he can satisfactorily handle a subject like the
life of Kamal Ataturk. There are hardly half a dozen
people in India who really understand the full signifi-
cance of Ataturk's life. But anyone who has even a
superficial knowledge of Kamal's achievements knows
that you cannot make a film of his life on the lines of
"Alhilal" and "Watan". Ataturk, will stand among the
immortals of history not as a great Muslim but as a
great liberator and reformer.
By the way, are the executives of National Studios
aware that the late Ataturk specifically renounced the
old feudal title of "Pasha" which they foisted upon him
after his death V
"GUNGADIN" GAGGED!
The Governments of Delhi and Bihar are to be
congratulated upon their commendable promptness in
banning the film "Gungadin" in their respective pro-
vinces. In doing so they have not only acted in accord-
ance with patriotic motives of protecting India's honour
but also acted wisely in "imperial" interests as such
slanderous pictures can only widen the gulf that divides
India and Great Britain. It will be a handsome ges-
ture, indeed, if the British Government stops the cir-
culation of the film throughout the Empire. If they
want to have Indians as their loyal allies in this war,
surely they won't like to have them depicted as sadistic
barbarians throughout the world through the medium
of this film.
Incidentally, it will be noticed, I hope, that the
ban on "Gungadin" imposed by province after
province, vindicates the stand taken by this journal
which had undertaken the responsibility of launching
a nation-wide attack on "Gungadin".
MORE IN SORROW
In this connection, it is a sad commentary upon the
patriotism of the Government of Bengal that they
should be alone in India to have permitted the exhibi-
tion of this anti-Indian film. Was it not the duty of
Premier Fazlul Haq, as an Indian and as a Muslim, to
stop exhibition of such a picture ?
A friend of mine who has recently returned from
Calcutta and had the dubious privilege of seeing "Gun-
gadin" is amazed that the patriotic Bengalis should
have permitted this slander to be screened in their
province. Even if the Government had neglected to do
their duty, responsible nationalist leaders like Babu
Subhas Chandra Bose ought to have come forward to
lead a crusade against "Gungadin".
In this connection, more in sorrow than in anger,
I have to record that the Bengal journalists not only
failed to emphatically protest against "Gungadin" but
some of them went to the extent of issuing a certificate
of merit to a picture which was described by an Ame-
rican critic as a "dirty, snivelling joke against the
Indian people". I leave the readers to judge the "pat-
riotic" conduct of these journalists. As for me, they
make me hang my head in shame I
7
St. XRUIER'S COLLEGE
RADIO & CINEMA
ABDULLA FAZALBHOY
TECHNICAL INSTITUTE
BOMBAY 1.
The following courses of training will be
held in the Institute during the Winter Session
commencing on 3rd January 1940.
For Matriculates, Duration 5 months to 2 Years
1. Radio Service Course
2. Wireless Telegraphy Course
3. Electrical Wiremen's Course
4. Projectionist Course
5. Photography Course
6. Sound Recording Course
For B.Scs. duration 2 Years
7. Radio Engineering Course
(PROSPECTUS ON APPLICATION)
Admission is open to candidates from all
parts of India and from neighbouring States, re-
gardless of caste creed or sex- To meet the needs
of the natural expansion and that of the increas-
ed demand for technical staff in the present
emergency conditions, the management has
doubled the floor space, the equipment and the
staff of the Institute; however, equity in the dis-
tribution of technical men for all parts of India,
compels us to maintain our system of regional
quota. Candidates who feel the urgency of en-
suring a seat for the coming session, should
therefore apply immediately and reserve a place
on the waiting list.
For prompt reply, write your name, address
and province clearly.
Rev. G. Palacios, S.J-, Ph.D.,
D.D., Ph.D. (Columbia).
Principal.
on
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for Your
M O N E Y !
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Operas, symphonies, dance orchestras,
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i7o, HORNBY ROAD. FORT. BOMBAY
December 1939
TECHNIQUE— AND HOW
The technique used by some of our Directors and
tars in self-publicity to get increments in their prin-
ely allowances makes an extremely interesting study.
Chiefly, they follow the familiar and popular me-
hod of "hunting in packs" — the packs having been
rained to 'howl' praises of the leader on all possible
occasions — even while standing in front of pan shops.
The latest and the most ingenious method is to
scare the producer into conceding higher salaries by
onveniently spreading rumours about bigger offers
from rival studios.
It usually happens just as the picture in hand is
nearing completion. An "unconfirmed report" ema-
lates from "usually reliable sources" to the effect that
irector X is receiving offers from such-and-such
studio. Now it is quite likely that the proprietor of
such-and-such studio has never had the faintest idea of
engaging Director X. But one day Director X would
motor down to the rival studio, have a chat with some
friends among the stars and - quite accidentally, of
course, a few words with the proprietor also.
Within a few hours the news would reach the ears
of everyone in Director X's studio. "Do you know"
one would say to the other, "Director X was called by
the proprietor of such-and-such studio" ?
In the evening the Boss would call the Director
and on enquiry would receive some such evasive reply,
"Yes, Seth, it is true I have received an offer or two.
FILMINDIA
But, of course, I won't think of leaving you. The only
thing is that my expenses have rather gone up these
days "
Next day the cashier would receive instructions to
raise Director's salary by a few hundred rupees !
Clever, isn't it?
If only the producers who keep on retrenching the
poorly-paid artistes on the plea of economy knew the
tricks of some of these Directors !
BORROWED PLUMES
Not long ago Mr. Babubhai Mehta's "The Only
Way" led us straight to "Seventh Heaven".
Now we find Mr. Kallah's "As You Please" serving
us with a rehashed edition of "Romance For Three".
Poor Motilal has to put on the discarded clothes of
Robert Young while Mazhar Khan has to imi-
tate the antics of Frank Morgan.
The "borrowed plumes" are not so evident in "On
The River", perhaps because the story-writer has been
'inspired' by more than one foreign picture. But still
one can smell "King And The Chorus Girl", "Blue-
beard's Eight Wife" and bits of "Rage Of Paris".
When will this game end?
Soon to be expected are an Indian version of "Chu
Chin Chow" and two Indian versions of "Captain Fury".
May we now expect "Juarez" in the garb of some
"Desh Sewak" or "Fida-e-Watan" ?
GORRKHdflTH
THE GREATEST OF
THE NATH SECT
FROM A REFRESHING
NEW ANGLE IN
STORY - DIALOGUES
DIRECTION:
filial Q. Penbliah.kah.
THE MAKER OF HITS LIKE
S H YAM SUNDER
KANOPATRA
RAJA GOPICHAND
N E T A J I PALKAR
GORAKHXATH
ARUNA PICTURES' NEW TALKIE PICTURE UNDER PRODUCTION
LEELA
(LOVELY SONG BIRD OF MAHARASHTRA)
B. NANDREKAR
(OF "AMAR JYOTI" & "BAG BAN" FAME)
VIM AL SARDESAI
(OF "MERA HAQ" FAME)
PEERLESS PICTURES
116, CHARNI ROAD. BOMBAY No. 4
Bonui for «ach Thr*« ft
Four Error »olv«r
"COMMONSENSE CROSSWORD" No. 1G5
How would you like to round off the eventful year of 1939 by winning Rs. 14,000 ? You will do so if
yours is the best solution submitted in this Competition ! Only careful, commonsense thinking is called
for. Altogether, over Rs. 20,000 must be won, and there are unlimited Extra Prizes including a Special Christ-
mas Bonus Award value Rs. 5 for every winner who submits 4 or more Entry Squares. You can best assure
yourself of a goodly share in these good things by getting busy at once on the Practice Square below.
nj'Ks across CLOSING DATE DECEMBER 22nd. clues down
1. Enjoyed by Commonsense
Crosswords throughout India,
Burma & Ceylon
5. Young men who value their
reputation shun company of a
degenerate one
7. Majestic
9. Ocean
11. Health resort
13. Threatened with danger woman
is by nature more inclined than
man to this
14. Fear often has the effect of
making a nervous person this
16. One's general outlook on life is
largely governed by one's
these
17. Person who is frequently this is
seldom very reliable
20. Reverential wonder
21. As a rule it is easy to detect a
false one
25. When a man is this his utterances
are apt to be extravagant
27. Rustic
31. Affirmative votes
33. Professional entertainers can
usually tell whether these in an
audience are approving or half-
hearted
34. Evening
35. Measure of weight
36. Many a woman not in love is
persuaded by an admirer's this
to marry him
37. As a rule it is foolish and harmful
to keep this bottled up
N.B. — The Entry Fee in this Competition is Re. 1
per Entry Square and Entry Squares will be
published in the issues of December 3rd and 10th.
Copyright of these puzzles strictly reserved by the Compiler.
ONLY ENTRY SQUARES
CUT OUT FROM
"THE ILLUSTRATED WEEKLY
OF INDIA"
of December 3rd and 1 0th
will be accepted.
26.
28.
29.
30.
32.
Reckless
Female sheep
Apt to become extremely trying
to those who are close to this
One seldom performs a task well
into which one is suddenly this
One of a set of steps
Man, the lordly creature, is
seldom deeply impressed by
any female's this !
Caused by a wrenched muscle or
joint
Dwelling-place
Ancient
Fore-end of a ship
When a woman is this her con-
versation clearly reveals it,
as a rule
You will very probably be hurt
if you try to obstruct one
Few men are strongly attracted
by such a woman
People who are obtrusively this
are apt to irritate others less
well blessed
Belonging to us
One in public is humiliating to
self-important person's pride
It is noticeable that people who
are by nature this are seldom
given to bragging
Persia
To put to some purpose
As well as
Deed
Serpent-like fish
COPiES AVAILABLE FROM ALL NEWSAGENTS
%e EDITOR'S milk
\
Readers " when you are worried " write to me. I ivill do my best $
in serving you. Serious matters will be treated ser
flippant letters will receive like replies. — The Editor.
2 in serving you. Serious matters will be treated seriously, ivhile
From: H. Venkanna (Kurnool)
Can you state, why the Anglo-Indian girls, whose
very appearance in the Indian costume and accent in
Hindusthani music and speech are repulsive to the
audience, are still thrust upon the people by the pro-
ducers despite the existence of really better Indian
talent lying idle in the industry.
Some of the Anglo-Indian girls which we have in
the industry make the producers feel like the
heroes. The Indian girls cannot stoop so low. Well,
as long as human Mesh has its craving, this problem
will never be adjusted to the satisfaction of the
audience. A better thing to do, will be, not to see
pictures in which the star of your choice does not
appear. Several of our producers also have their
conscience in their pocket and unless you attack
their pocket they won't realize the utter stupidity
of using this half-baked Anglo-Indian talent when
better Indian material is available.
From: P. R. Subba Rao (Guntur)
Who is the best scenario writer oj India ?
From what I have seen on the screen, I think
Devaki Bose to be the best. His scenarios are al-
ways better than his direction.
Who is the better actress between Shanta Apte and
\Devika Rani '.'
On the screen, of course, Devika Rani.
From: K. L. Narasimha Rao (Gudivada)
Criticise the suitability of Motilal as the hero of
jlhe New Theatres' socials.
Suitability needs no criticism. Possibility does.
Who did better work: Vinayak in "Brahmachari"
lor Barua in "Mukti" ?
From the histrionic point of view, Barua was
better, though Vinayak's performance was more
popular.
From: Krishna Kumar (Agra)
One of my friends imitates our celebrated stars
ivery well both in acting and singing. He is handsome,
\urill be a graduate soon and is a regular reader of
your magazine. Would you recommend him to some
iirector ?
At present his only qualification seems to be his
regularity in reading "Filmindia". Imitating is not
acting. Every artiste should develop his or her own
individuality in acting. I would suggest your
friend first passing out as a graduate and then
'yell' if he needs me.
What is your definition of: "Must Be Seen" pic-
tures ?
It means that the picture should not be missed by
ardent film fans who believe in having a sensible
fare for their entertainment. The "Must Be Seen"
choice is given after a very careful weighing of all
points which constitute to make a good picture,
and this recommendation of ours should not be
taken lightly. Very few pictures earn this certifi-
cate from "Filmindia". My paper does not believe
in giving a good review to earn a page of adver-
tisement from the producers. Even producers who
do not advertise in Filmindia get a good review,
when they produce a good picture. To cite an in-
stance, read the review of "Pukar" in the Septem-
ber issue. And the next time when you read the
reviews, remember that "Filmindia" always gives
impartial reviews.
Bari Didi" has not been a big box-office success
like other New Theatres' pictures. Where in lie its de-
fects ?
The picture has no inherent defects in this respect.
It was a beautiful picture, but our people have not
yet learned to appreciate a good thing when it
comes along. Its philosophy being a little high
pitched, it went beyond the understanding of the
masses. And the masses make the Indian picture
a huge success. Unfortunately the masses have
been poisoned by cheap stunt pictures produced
not by industrialists but by opportunists and they
have never been allowed to cultivate a taste for
better pictures. It is necessary that some of our
producers should observe a long range policy in
their productions and try to give real quality pic-
tures, for in the long run only quality will
survive.
What percentage does advertising add to the value
of a fourth class film ?
It only helps to make the picture a complete fiasco.
It adds to the losses of the producer.
From: Nuruddin (Dibrugarh)
I am anxious to have Sitara dance on my next
wedding day ? How shall I do it ?
What do you mean by the "next" wedding day ?
Are your wedding days as frequent as your birth
days ? I hope not. I do not think Sitara is doing
11
FILM INDIA
professional dancing now, as she used to do once.
But if you get Sitara to do it, no one will look at
your bride. People won't come for your wedding
but they will come to see the dancer.
Write to her c/o Ranjit Movietone, Dadar, Bombay
and ask. What way could be better than that.
From: Kazi Abdul Rehman (Dibrugarh)
Who is the better actor between Mazhar Khan and
Yakub ?
Both have plenty of individual points and there is
little to choose between the two and yet I think
Mazhar is more versatile.
From: G. Vasudevarao Prabhu (Chalapuram)
I know Baburao Pai is the fifth partner of Prabhat.
Please let me know the names of the rest ?
Here go the names of the illustrious who pursued
industry and wooed fortune to bestow a broad
smile : 1. V. Shantaram, 2. Sayed Fatehlal, 3. V.
Damle, 4. Sitaram Bapu Kulkarni.
Which is the best Marathi picture of 1939?
"Sant Tulsidas", produced by Ranjit Movietone of
Bombay.
Who is the most beautiful actress among the fol-
lowing : Shanta' Aptc, Rose, Kanan Bala and Maya
Banner ji ?
If you mean physical beauty — none. If however
you mean beauty in acting, then Kanan would
stand first and Rose would come second. Between
Shanta and Maya, I think the first one is a shade
better. In music, she has a pull in her favour.
Who sings better: Shanta Apte or Shanta Hublikar?
For melody and lilt I like Shanta Hublikar but in
sheer music I rate Shanta Apte very high.
From: R. L. Premy (Kashkar)
Where is Mira Devi who was once with Bombay
Talkies ?
You will soon see her in Ranjit Pictures.
From: Sardar M. J. A. Khan (Allahabad)
What are the whereabouts of Kamlesh Kumari of
N. T. ?
The last I heard was her interview saying that she
has left the screen for good. As she dances pretty
well she has probably taken to it as a career. I
don't know where she is exactly. You know, it is
very difficult to locate so charming and enterpris-
ing a girl.
What was the real cause of Shanta Apte's hunger
strike ?
Probably indigestion. The newspapers had given
some reasons but I have not yet seen Shanta's con-
firma ton of the same.
December 1939
From: N. Cheeranjivi Rao (Secunderabad)
Compare and contrast the dancing of Sitara with
that of Sadhona Bose '.'
A difficult question which needs a long answer
I shall cut it short and leave the rest to your ima
gination and understanding. While Sitara
classic, Sadhona is lyric. Where Sitara is vigorous
Sadhona is soothing. What Sitara thunder
through Sadhona glides through. Sitara expresse
more with her feet while Sadhona expresses mor<
with her body. While Sitara becomes a passion
Sadhona still remains a love. One is a desire, th<
other is an emotion. One is a war song, the othe
is a love ditty. Sitara becomes an amazon whil
Sadhona still remains a woman. This is how th<
girls express themselves when they dance and nov
tell me which is the better.
Is Master Vithal alive ?
Yes.
From: Hemandra Nath (Agra)
My room mate is a very good comedian and h
can imitate the sounds of several animals. .Can he ge
a chance in the films ?
Ask him to try with Prakash Pictures, Andher
Bombay. By the way is your room mate also four
footed ? That will be an extra qualification fo
Prakash.
Sadhona Bose and Dhiraj Bhattacharya in Sagar's
"Kum Earn theDancer" directed by Madhu Bose
n
ecember 1939
FILMINDIA
rom: Miss Pilloo S. Petit (Bombay)
Are Ratan Bai and Sabita Parsee girls ?
Now don't be disappointed. They are not. The
tirst one is a Mahomedan while the second one is
an Anglo-Indian.
from: Y. N. Kumar (Mysore)
Can you rate the talents of the following story
writers: Saradindu Banner ji, Kamal Arnrohi, P. K. Atre
tad Gunvantrai Acharya ?
Compared with the others Saradindu is a classic
writer. He is very good at social plots. Kamal
Arnrohi is a creative thinker. He gets an idea,
often new and provocative, but just fails to deliver
it. Atre specializes in light literature and is good
at comedies. Gunvantrai merely writes language,
he seems to lack ideas.
Which was the best stunt picture in 1938?
I don't see any 'stunt' pictures and I think no sen-
sible man should see them.
From: Vipin H. Jhaveri (Surat)
Did Miss Padma Devi accompany Mr. Baburao
Patel on his tour round the world ?
No. Will you tell me why she should ?
■ From: Chunni Lall Luhar (Rajnandgaon)
I think Kanan is the most popular star in India ?
I think Devika is.
From: K. Mahomed Ebrahim (Balehennur)
I am a matriculate and I want to become an actor.
If I come to Bombay will you help me or not ?
The job you will have to find out yourself, I am
not an employment agent. But if you have talents,
it will not be difficult to find one. I shall help you
become a better actor by criticising your perform-
ances once you start giving them and provided you
are prepared to learn.
From: B. Nagaraja Rao (Anantapur)
I am very anxious to work in a Telugu picture so
please let me know the most kind hearted director, so
that I get a chance easily and without any difficulty
whatsoever.
I appreciate your anxiety to work in a picture.
Unfortunately over 30 million people have the same
anxiety and directors cannot afford to be "most
kind hearted" and yet I would suggest your trying
with Mr. K. Subramanyam of Madras United
Artistes. Mr. Subramanyam is a very enterprising
man and often tries new talent, that is if you have
the stuff in you.
From: V. M. Sukumar (Tellicherry)
I would like to know who reviews the films for
Filmindia ?
You are asking for a trade secret. Allow me to
assure you, however, that the man who does it
knows his job well and in executing it from month
to month he provides an impartial guide to film-
goers all over India. I can't divulge his name as
I have guaranteed his personal safety, against the
whims of some of our producers.
From: K. Chandra Pal (Masulipatam)
Prior to Prabhat had Shanta Apte appeared in any
film ?
Shanta Apte's first film appearance was in "Shyam
Sunder" produced by Saraswati Cinetone. Poona.
Her work in that picture was not praise-worthy.
From: Usaf AH Khan (Beawar)
Why has Prithviraj left New Theatres ?
Certainly to get a better salary and perhaps to do
better work. Let us wait and see. You will pro-
bably see him in the next fifteen pictures of Ranjit.
From: U. T. Acharya (Anantapur)
I want to have a course in cine-photography?
Write to the New York Institute of Photography,
10 West, 33 Street, New York and call for their
prospectus. They also have a postal course. While
writing, refer to filmindia and you may get an im-
mediate reply.
From: Masood Asad Salebhoy (Siam)
In Siam, Indians are very anxious to see Indian
pictures. Occasionally some rotten Indian pictures are
sent there which have created a bad impression of
India and Indians on the Siamese people. Why don't
the better companies send some better pictures ?
You are right. This is another form of slandering
our people in the eyes of other people. The pity
is that this dirty work is being done by some of
the Indian producers. I think the better class pro-
ducer should do something about this by sending
better pictures to create a better impression about
Indians and their industry. Let us see who takes
the lead.
What is the age of Naseem and what are her quali-
fications ?
I have stopped telling the ages of women, because
as they grow older their ages become less. And in
case of a film star it is also dangerous to predict.
As regards Naseem's qualifications she is beautiful
in a way and is fast learning to act. See her as
Nut Jehan in "Pukar".
From: G. Sharma (Ludhiana)
Two of my friends want to be villains. They have
striking features for this work. Which company is in
need of such villains ?
Wadia Movietone, Parel, Bombay. And don't for-
get to say how much they weigh. That is an added
qualification.
From: R. Fraidoon (Madras)
It is curious to note that inspite of large collections
on their films, why should a good number of studios
fail regularly ?
r
FILMINDIA
December 193{>
Large collections are seen only on good pictures
and one good picture is produced after nine bad
ones. The law of averages beats the producers.
Those producers who beat this law of averages are
the ones who have made money. The rest are
bankrupts or will be so very soon.
From: Y. K. Jain, B.A. (Meerut)
I aspire for cinema life. I aspire not for its girls
or its high salaries, I aspire because I cannot resist my
heart's desire to serve the noble art. My ambitions and
my dreams of life are to serve this noble art.. My hob-
bies are acting, directing and story writing.
I sympathise with you.
From: K. Shiv Shankar (Nagpur)
A friend of mine said the other day that Mr. Babu-
rao Pendharkar was dead. .Is it true ?
He won't die so quietly. That will be his final act
and he will give a good performance. The indus-
try should be grateful that he is still living. We
do not wish to lose our best character-actor.
From: S. Singh (Poona)
Don't you think that Paul Muni is the greatest
living actor in the world today ?
Yes, one of them, but there are others who are
also great.
How many Indians are there in Hollywood working
in the film industry '.'
About twenty. One ties turbans, one takes very
small and insignificant parts, the third one is a
sort of an adviser on Indian affairs and the re-
maining seventeen are coolies doing extra parts in
association with monkeys when they want the
"real Indian atmosphere". Most of these Indians
are starving residents of Punjab and some come
from Ceylon but probably all of them came as
cooks for the different Indian restaurants in the
States and stayed to work in Hollywood, drawn by
its glamour. .- •
From: Kamla Kapur (Simla)
Is Hedy Lamarr the most glamourous star in Holly-
wood '!
No, she is one of the several. But just at present
she is very popular with the Hollywood folks.
From: H. S. Murthi (Shimoga)
Where is Padma Devi working now '.'
She is working in "Kum Kum the Dancer" being
produced by Sagar Movietone and directed by Mr.
Madhu Bose.
Haue you any hobbies ?
Yes, loafing round the world. Only I can't indulge
in it oftener.
What are the real names of the following: Bibbo,
Nadia, Madhuri and Sabita Devi ?
I know, Madhuri's is Beryl Claessen. About the
other three I have never worried.
Will you print a tri-color photo of Shanta Apte ?
Tri-colour photos are supplied by the producers.
I want to know the present activities of Shanta
Apte ?
I wish I knew.
From: Shaik Ali (Nellore)
Yakoob the Sagar actor has taken to direction. Has
he had any special training in this art or is he natural-
ly gifted ?
All our directors are naturally gifted and become
nature's gifts to the producers. Isn't it wonderful ?
And who told you that direction in India is being
taken as a serious art ? Don't kid yourself with
such fancy ideas otherwise you will soon get the
bad habit of comparing the Indian pictures with
the Hollywood ones. Our producers can only sur-
vive if the audiences remain ignorant and our pro-
ducers must live. Art may be sacrificed or the
industry may die, who cares., as long as the pro-
ducer lives. So, next time don't look a gift-horse
in the mouth.
Guess who she is, filmindia in one hand and a stick
;n the other- -No prizes offered.
14
This cutie has made a bold bid for stardom, in Film Corp's Aulad, directed by
Jtidar Sharma now on at the Krishna Talkies.
Baburao Patel Scores a Hit in Hollywood
Film Journalists President Conveys Indian Protests Against
anderous Pictures
Entertained at all Studios
By The Staff Correspondent, News Press Service
Hollywood (By Air Mail).
Confident in the knowledge that
Hollywood at long last understands
the true sentiments of the Indian
people in regard to offensive film
productions, Baburao Patel, Presi-
dent of the Indian Film Journalists'
Association, is now on the high seas
heading for home.
During the fortnight he spent in
this motion picture capital, Patel was
the welcome guest of every studio.
Most lavish in its welcome to the
representative of India was Warner
Brothers. This is logical in view of
the high esteem in which its pictures
like "Emile Zola" and "Juarez" are
held by the Indian people, as well
as the Indian exhibitors. Not as
pretentious, but equally sincere in
their efforts to please, where the
greetings by other studios, including
R. K. O., Paramount, Republic,
M.G.M., 20th Century Fox, Univer-
sal and Columbia.
Most of the studio executives did
not understand what all the shout-
ing was about in connection with
so-called "anti-Indian" films. Only
a few of them recognized the justice
in the position of the Indian peo-
ple against certain films. But
all with whom Patel conferred
expressed their pleasure in getting
a clear picture of the Indian film
situation for the first time and an-
nounced their willingness to co-
operate with him in meeting the
desires of his people.
GREETED BY WARNER'S CHIEF
Harry Warner, head of Warner
Brothers, played host to Patel at a
cocktail party given in his honor.
The two film figures held an ani-
mated discussion for over a half
hour in the spacious Green Room on
the Warner lot. The host was
keenly interested in the views ex-
pounded by Mr. Patel and suggested
that he communicate with him after
he returns home regarding possible
stories for future productions con-
taining themes suitable to the Indian
people. Mr. Warner regretfully
cancelled another appointment with
Patel at his ranch because of illness.
Mr. Patel's arrangements to sail
compelled him to forego setting
another date. However, his pur-
pose was accomplished and he be-
lieves a good basis has been set for
amicable relations in the very near
future.
Among the Warner stars and
players called in to meet Mr. Patel
at the cocktail party were Paul
Muni, George Raft, Alan Hale.
Frank McHugh, Henry O'Neil, Bette
Davis, Lya Lys, Nanette Fabares.
Jeffry Lynn, William Lundigan,
Dennis Morgan, James Stephenson,
Gloria Dickson, Ronald Reagan,
Margot Stevenson, Wayne Morris,
Pat O'Brien, and Humphrey Bogart.
The next day Mr. Carl Schaefer,
congenial and efficient head of
Warner's foreign publicity depart-
ment, informed this correspondent
that the stars were greatly impressed
by Mr. Patel. Several of them had
expressed the hope that they could
make a picture in India for Warner's.
EXECUTIVES ON PARADE
Other studio executives who met
Mr. Patel to hear about his mission
were the following: Colonel Jason
S. Joy, 20th Century Fox, executive
assistant to Darryl Zanuck, Joseph J.
Nolan, R.K.O., Assistant to George
Schaefer, president, who was out of
town but who sent a telegram to Mr.
Patel the day he was leaving in
which he stated his regret that they
could not meet. Also Mr. Luigi
Luraschi, Paramount, head of the
Foreign and Domestic Censorship
Department; Mr. Bernard Hyman,
M.G.M.; Mr. Milton Feld, Universal
Mr. E. H. Goldstein, Republic; Mi
Sam Briskin, Columbia, and severe
others.
The studios took "stills" of Mi
Patel with stars appearing in cur
rent productions. These include
Alice Faye, Don Ameche, Jame
Cagney, George Raft, Alan Hald/
Gene Autry, Mary Carlisle, BriaiB
Aherne, and a host of others. H
was also photographed with Direc
tors William Dieterals and Williac
Keighley, as well as the executives
DINNER AT KEIGHLEY AND J
DIETERLE
On Sunday September 30, Mil
Patel dined at the home of Directofl
Keighley and his wife, the formeB
Genevieve Tobin, whom he ha<fl
met last year when they visiteaj
India. And on October 3, he dined!
with the Dieterle's and was givei
a private showing of that filn
masterpiece, "Juarez" which Mr
Dieterle has directed. Mr. Pate
was twice a guest of Mr. Dieterle or
the set of "The Hunchback of Notn
Dame," where he was introduced t<
Charles Laughton.
At each of the studios he visitee
Patel reminded the executives 0
their film offences against th(i
Indian people and won assurance;
that there would be no repetition
The Hays Office here was very heh>
f ul to Mr. Patel as was the office ir I
New York. Although the N.Y.K |
steamship is bearing him fartherb
and farther away from Hollywood*
this film colony will long rememberji
Baburao Patel. And most of thosa|
he has left behind with pleasanli
memories are hoping he will return!
next year, as he hopes to. All wish!
him bon voyage on his journey
abroad the "Kamakura Maru," and
a safe arrival in Bombay at the end j
of December.
lb
II
II
Plesetitincj
THE IMPOSSIBLE,
YET INSPIRED,
Star . Combination !
IN
3RRr (Marathi)
' W - SPT ™ tPft ' Mindi)
'The Better Half
Men 6;/ : Prin. P. K. ATRE,
B.A., B.T., T.D. (London)
fyindi Stanslalion by: Pt. INDRA
Photographed by : PANDURANG S. NAIK
jealuiing :
Dizecled by
W INAYAK
MEENAXI
LEELA CHITNIS
MRS. VIMALA VASHISHTA
KUSUM DESHAPANDE
MALVANKAR ROARING LAUGHTERS,
SALVI HEALTHY SENTIMENTS,
BABURAO PENDHARKAR PROFOUND THOUGHTS
WINAYAK
A ECBUJT CCMECr!
RCIIIIIII ©IF III Al IIP IIP III 1 IE S §
This Huns Social has held in spell Bombay and Poona, for the last ten and seven
weeks respectively. Press, Professors, Litterateurs, Social workers of Nation-wide
Renown, Eminent Ladies, all have with one voice declared it as one of the finest
pictures produced so far. It had the unique privilege of the visit of the Congress-
Ministry of Bombay, immediately after their resignations. Soul-stirring and Thought-
provoking, this memorable picture has established with a challenge, BABURAO
PENDHARKER famed as the inimitable Villian-Player, matchless even as a Hero.
It's Hindi Version MERA HUQ will be Shortly Released in the North. j j
This Producer Dares To Say:
no no RE 17,000 FEET EPIGS!
Let Us Cut Down Length Of Pictures And Produce
Educative And Interesting ' Shorts \
By Baburao Pendharkar
(Jti the following article we present Producer-Actor Baburao Pen-
dharkar in his most timely and commendable role - the role of a
I rational producer who makes a rational plea to his colleagues. — Editor.
Filmindia) .
One day while travelling in the
train. I was introduced to a big
Government official. Knowing that
I belonged to an Indian Film com-
pany, he casually talked to me about
the present condition of Indian films
and remarked that the intelligentia
is not interested in the Indian pic-
tures for several reasons one of
which is the tiresome length of our
Indian pictures and also the absence
Of any side reels. This talk made
me think over this matter.
After contemplation of the pros
and cons of shorter pictures I pro-
pose to put forth a suggestion,
which may, at the face of it. seem
impracticable, but in reality is most
definitely possible and welcome
too !
It is an indisputable fact that the
general public has come to be tired
with inordinate length of our films
which makes them dragging ana
monotonous. So long as a talkie was
more or less a novelty and the
sense of tempo was not developed,
the public tolerated the tiresome
length and they even appreciated
an actor standing static and singing
— rather vomitting - tunes after
tunes. Those days have gone. And
a time has come, when the public at
large is ready to appreciate and de-
mand the real charm of brevity and
briskness.
I have never fully understood
those who. often refer to a film as
epic. Its conception on its psychic
side may be so. But in the general
get up and the singularity of effect,
it is more akin to a lyric — or a short
ftory. It is a drama but not Eliza-
bethan. The age of the one-act
play has come to stay. I quite un-
derstand that there may be certain
themes which may require a wider
canvass. Just like the saga in a
novel. For instance Victor Hugo's
•Les Miserables' or Tolstoy s "Anna
Karennina' or Romanin Rolland's
Jean Christophe' or in our history,
the life of a Moghal Emperor or the
sage of Buddha, these subjects, be-
cause of their special nature, can
claim the present length. But in
general, many a theme that we to-
day handle could be more effective-
ly, charmingly put forth, if the
length were cut down. Love has
been the ruling subject of many of
our social pictures. Where is the
necessity of presenting it with full
and confusing complexity and inter-
play of diverse colours It is never
done for the theme's spke. It is
always done to lengthen the picture.
Love and its various reactions,
affection and its subtle shades,
sacrifice and its divine intensity — all
these are lyrical in soul, lyrical in
appearance. They must be also lyri-
cal in dimensions.
It is very easy to get this 'cut
down'. More than often, superflous
songs add to the footage. An ave-
rage film, rightly accommodates at
the most three or four songs. But
we have all the while supposed that
at least ten songs is a fundamental
necessity. The producers go still
further. They make the number of
songs a feature in advertisements.
This is stupid and unhealthy. Songs
must be outburst of an intense feel-
ing— at its white-heat point. Just
like the crucial situation from dra-
matic view-point, the mental inten-
sity is expressed in songs. How
many intense spots (which have to
be only sung out) can there be in
one picture ?
Mr. Baburao Pendharker, Director
of Navyug Chitrapat Ltd.. and
partner of Huns Pictures.
With no offence to my fellow pro-
ducers I am writing this. I can say
that many of my producer friends
could easily cut down their pictures
to the length of 8,000 feet and that
too with no harm to the general
effect of the production. This bre-
vity in length will wipe out the ge-
neral evil of monotony, the usual
grievance of 'drag' and will make
Indian pictures "Smart".
Many authors, because of the sub-
stantial length before them, unneces-
sarily make complexity more com-
plex. They inter-mix more than
two or three problems. And then
our photoplays gravely suffer from
artificiality — a made-up instead of a
spontaneous and homogeneous crea-
tion.
A screen-play is in essence and
must be — a lyric in light and shade.
It is a poem not an epic running in
books.
I propose that the length must
not generally exceed eight thousand
feet. This limitation will give an
unlimited scope to many new things.
The removal of this strain of un-
necessary length will enrich by new
19
FILM INDIA
December 1939
admission, the channels of celluloide
medium.
I mean, a door will be opened to
supplementary programmes of en-
lightening, educating and entertain-
ing nature. May I give a list ?
There will be cartoons ! Our my-
thology is full of fantasies, ethical
tales, allegories. They could be
better picturized in the cartoon me-
dium. When one sees this medium
developed to the perfection of
"Snow-White" one blushes with
shame, not to be able to mention
even one tolerable Indian cartoon.
Length of films had blocked this
branch altogether !
There could be news reels ! Is our
country dead still ? Is our national
life, eventless, dull, as to provide no
news for reels ? Gandhi — The indivi-
dual is himself an institution suffi-
cient to be a news for a weekly to-
pical. Many Leagues and Confer-
ences and the movements of their
leaders, Congress activities, new
plans introduced, meeting of the
Viceroy with the greatest leader of
India; these are perennial sources
for the news-reels. India is the
golden land of gay festivities. In-
spite of the ceaseless drains of cen-
turies with occasional festivals, the
poor folk muster up mirth and de-
votion. They will be happy pictures
for reels.
These news-reels, showing 'The
personalities of the public life' in
action will promote the national
cause and carry the message of the
hooks and corners of our vast con-
tinent-mother India.
Then there are sports. Like Ham-
mond and Bradman, we have our
own "C. K.", Amarnath. Wazir Ali,
—we have Dhyanchand — we have
our Uday Shankar, we have our
Gama by the side of "Joe Louis" —
In no sport India is less colourful
and vigorous ! — Best Hockey wiz-
ards, swimmers, and footballers— but
they are 'shadowed out' because
they are not 'shadowed' on the film.
India is the unparalled land of mar-
vels in architecture, art, geographi-
cal wonders and beauties !
It was a pity to see ourselves
gasping with wonder and awe to see-
the snowy heights of Himalaya in
Capra's 'Lost Horizon'. And yet we
have never seen these mountains in
our own films? Our rivers with
thick population on their banks, with
floating commerce, with interesting
rituals, our thick forests with mys-
terious life, our gigantic temples,
hundred times grander than the
greatest of the citadels in the West.
Their present boast is a mere prat-
tle. Our Taj, our Madura, Humpi,
Tanjore, Puri many to mention !
Castles of historical significance,
holy places, natural marvels and
marvels wrought by human hand-
like Ajanta, Abu. Naland and Ele-
phanta !
Then there could be films of edu-
cative value. We can exhibit ma-
chines in the making and in the
working — and thus display the
march of the times. Our peasant
population is ignorant of the tre-
mendous speed with which life be-
yond is moving. He is the same old
man of the days before walking by
the side of his bullock. Let him
know "The 20th Century", and have
the idea of the shape of things to
come. Let events of famine, epide-
mic, earth-quake be picturized. It
is a better appeal to the brotherly
instinct than the appeal in words
and communiques issued by leaders.
There are strikes declared, Phoneix
Mill, Dighoi, Cawnpore and many
more. Let them be picturized and
the workers' grievances be laid on
the blazing screen !
India will be a nation in no time.
More busy, tense and eventful times
are ahead. They are so very near.
Resignation of the ministers, the
A scene from New Theatres (Circo Production) "Jawani Ki Hit" featuring the Queen of Melody Kanan
Bala and the handsome Najamul Husein to be released thru Calcutta Film Exchange.
«10
December 1939
FILMINDIA
possible arrests, the mass movements
—Ah ! This time it is bound to be
the decisive struggle for national
liberation. Should not films contri-
bute to it — atleast record it ? One
Mr. Gunther comes here and takes
pictures. One Mr. Lloyd comes here
and takes pictures. Many enjoyed
the news that Mahatma Gandhi was
to be a subject of an independent
film. I felt ashamed when I learnt
that it is composed of films taken
by Westerners !
Look here, you Indian technicians,
what is your answer to this ?
There can be only one answer :
"The length of the Indian film never
allowed these activities to flourish in
India."
This evil should not be there any
more. War has introduced such
conditions when even the producers
must look upon this problem from
a business view-point. The cut in
the length will save the cost of the
production. And in return they will
be able to give more productions.
The supply of the raw material has
also become an anxious problem. In
view of that also, this cut is inevita-
ble and also desirable. Let this
crisis be turned into a magnificent
excuse to the public — the public
which shouts for lengthy films. And
only they develop an eye for the
brisk and smart 8,000 feet films, they
Leela and B. Nandrekar in Arun
Pictures 'Gorakh' directed by Bhal
G. Pendharkar.
will never go back to the 14,000 feet
'epic".
Only a pious wish or a sugges-
tion through papers will not ma-
terialize this proposition. A lead
must be taken by all the producers
and a legislation must be effected
upon this. It should be enacted
through legislation that every exhi-
bitor, along with his main pro-
gramme, must supply side program-
mes— like news, geographical topi-
cal, travel talks, fashions, festivals,
or even songs— yes, for those who
are out to revel only in the feast of
music !
This retrenchment in the length
will in a timely way, compensate
the retrenchment forced due to de-
pression.
To sum up:
Let the producers summon cour-
age and say : The film shall not ex-
ceed 8,000 ! Let the Government
say "yes"' in support.
And the public will soon appre-
ciate this move — and welcome it I
Gohar has said something and poor Charlie is frozen to death, or is he ashamed to lift up his eyes on
the three tender sex on his left, we shall know the answer in Ranjit's 'Achhut* the Gujrati version to
be released at the Royal Opera House during X'mas Holidays.
21
Paul Muni as Benito Pablo Juarez the liberator of Mexico
GUIDE TO FOREIGN FILMS
* * *
Go Out Of Your Way To See
JUAREZ (Warner Brothers) —
Paul Muni, Bette Davis, Brian
Aherne, John Garfield, etc. — Direct-
ed by William Dieteiie.
For once Hollywood has sent u?
a truly great picture — great in its
conception of the democratic idea,
great for its acting, and great for
its lavish production and competent
direction.
Depicting the conflict in the lives
of two good men Emperor Maxi-
milian and Benito Juarez. Red In-
dian President of Mexico, as
symbolizing the essential conflict
between monarchy and democracy,
this picture is a complete vindica-
tion of a peopled right to rule them-
selves. Indian nationalists will find
in it much to inspire them in their
own struggle for freedom.
With an eye on authentic atmos-
phere and characterization rather
than on cheap melodrama William
Dieterle has turned out a picture
which may not make as much money
-as so many so-called Hollywood
Supers but which lends distinction
to the producers and the cast and
establishes the screen as the world's
most potent medium for culture and
for freedom.
Tt is difficult to say whether Pau!
Muni (as Juarez) or Brian Aherne
(as Maximilian) acts better. It is
•possible that one of them may- win
•.he year's Academy Award. But so
L>reat is the picture that individual
work doe? not matter.
ON BORROWED TIME (M.G.M. ^
— Lionel Barrymore and Sir Cedrlc
Hardwicke
This is rather an unusual kind of
story which the average film-goer
may find dull and difficult. There is
neither Sex Appeal nor songs.
Death appears in a lounge suit and
talks and walks like any mild hu-
man being. An old crippled man,
played with usual perfection by
Lionel Barrymore, puts Death up a
tree to save his grandson! Unusual,
A charming dancer in Mohan
Pictures' "Jay Bharati"
fantastic stuff. But behind this
allegory is a fund of profound wis-
dom and humanity!
* *
Good For An Evening's Entertain-
ment
WIZARD OF OZ (M.G.M.) — Judy
Garland, Frank Morgan, Billie
Burke.
This technicolour production,
based on a popular fantasy, is not
able for its photography and for the
unusual entertainment it provides
Not so great as "Snowhite And
Seven Dwarfs" but good in its way,
See it by all means and take youx
children along with you.
ANDY HARDY GETS SPRING
FEVER (M.G.M.)— Micky Rooney
Lewis Stone. Cecilia Parker, etc.
Another of those Hardy Bi-
annuals. Usual. amusing stuff
tinged by commonsense and hu-
manity. This story is redeemed b>
the introduction of a girl, older thar
Rooney. with whom the impetuou.1
youth falls in love.
SECOND FIDDLE (20th Century
Fox) — Tyrone Power. Sonja Heme
Rudy Valee.
Hardly a month passes withou
a new picture of Tyrone Power
Poor Chap, must be overworked
This one is usual musical melodrama
notable for Irving Berlin's music an<
Rudv Valee's songs.
Go Along If You Must
FRONTIER MARSHAL (20«
Century-Fox) — Another cow-boj
"thriller" featuring Randolph Scott
Ccsaei Romero and Nancy Kelly.
SUSANNAH OF THE MOUNTIEi
(20th Ce n tury-Fox) -Another Shirle;
Temple film, "as usual.'' this tirro
with Canadian Mounted Police pro
viding a background.
22
The SEAL
OF
Solidarity
FOR
PERFECT
PICTURES I
f
II AT DOS*
...AS »*■ * M**J
;;i^>sj!£^--^^
^3
new Theatres
LTD. (CALCUTTA)'s
Scmti7ating Social Satire.'
(A OR CO PRODUCTION)
Direction : Sjt. Hemchunder
Music : Sjt. R. C. Boral
Photography : Sjt. Yousuf Muljee
• •
POIGNANT ROMANCE!
SUPERB AND HEART-POUNDING TINGED
WITH MODERN STREAMLINED IDEALS !...
A SOPHISTICATED STORY OF A
MODERN SON, UNMODERN FATHER
AND AN ULTRA-MODERN MAID OF THE
MODERN TIMES!
"JAWANI-ki -REET"
Where ?...When ?
Starring : Swee ted £ark of ike Undi an So ten
KANAN BALA, Najam, Jagdeesh,
Nemo, and B. Kapoor, etc.
And in the
Making :
ZINDAGI(Life)
Direction: P. C BARUA
Starring :
INIMITABLE
J A M U N A
& SAIGAL
Direction :
Sjt. D. R. DAS
Sjt. K- C DEY
AND THEN
Associated Productions Ltd.'s
( zirzt )
Starring :
SHREELEKHA. MOLINA, PUNKAJ MULLICK,
MANJU MITRA, MUZAMIL & K- C DEY.
Re/easing Organization T
G A L C I T T A F I L M E X C IT ANGK,
TIN WALA BUILDING. TRIBHUVAN ROAD, BOMBAY u.
Technical Progress During the year IS3S
The Editor Bulletin A. C. T. I.
With the close of the year 1939
and the beginning of 1940, we feel
that we must pause for a while and
review our activities for the year.
While the opinions of all and sundry
both in and out of the Industry have
been fairly unanimous in agreeing
that the past year has been a definite
step forward in the technical pro-
gress of our art. we feel that some
sort of a more detailed resume on
our own part would not only, not be
amiss, but would be of great use in
removing the many erroneous im-
pressions created about ourselves
by several indiscriminate articles in
both home and foreign publications.
One of the outstanding features of
the last year has been the rise in
popularity of the automatic system
of film development as compared to
the rack and tank system. It is
gratifying to note that in Bombay,
which is the largest centre of film
production here, the close of the
year saw nearly all the major pro-
ducers equipped with completely
automatic plants some of them
Operating with more than a pair of
machines, while as many as four
large capacity units were completed
for an independent concern catering
| to the needs of the smaller pro-
ducers. In Calcutta three plants
lhad been already working and the
□rear under review saw the comple-
tion of two more, while another two
would have been installed had it
not been for the closure of the firm
of Agfa with whom orders had been
mlaced and even executed but for
nie actual delivery. In Southern
India several plants had been work-
ing and about the same number are
at present under construction.
The gamma system of develop-
ment has now been accepted as the
standard practice for positive de-
Kumar — the hero of many an out-
standing hits, appears in "Laxmi",
A Circo production.
velopment while for the negative
the votaries of the test and gamma
methods are still divided. Two stu-
dios use standard light testers while
the majority still rely upon the
trained tester.
In the field of sound, the year
1939. has seen a fair standardisation
of equipment, and the older and
cheaper American sets such as the
Audio Camex, The Jenkin and Adair,
the Tanar, etc., have been either set
aside or relegated to the very small
producer of stunt or travel type of
picture. There are now over a
dozen R.C.A.'s operating in the
country and about the same number
of such excellent British sets as the
B.A.F. Visatone and products of
other allied concerns. In addition
to these there are quite a large num-
ber of Fiddelytones operating with
great success. Ke-recording has
become very popular, most of the
major studios have facilities for it,
their apparatus being mostly of in-
diginous manufacture while there
are also about half a dozen or so of
foreign manufacture in use. It is
rare to find a completed picture to-
day even of average quality that
has not had the benefit of some re-
cording, the smaller producer hav-
ing his work done wherever else he
can get the facilities.
On the sets the play back has
gradually become the only method
of recording songs and dances, en-
tirely superseding the direct me-
thod. It is not unusual to find even
the smaller producer hiring out his
playback equipment for the day,
because every Director today has
realised its value and insists upon
it. The result of all this has been
a marked improvement in the qua-
lity of our recordings and a much
more intelligent use of sound and
music as a directorial aid.
25
I ILMINDIA
December 1939
In the field of photography, the
outstanding achievement of the year
has been directly due to the in-
creased speed of our new films.
Levels of illumination unheard of
before are now being used on the
sets, resulting in less tiresome work
for the actors and increase in artis-
tic and realistic effects. As a result
the power of the individual units
have been reduced and a larger
number of smaller units have now
come to be employed. The fresnel
type of condenser spots recently put
forward by Mole and Richardson
have become very popular and it is
not unusual to find a good number
of such units in almost every stu-
dio. The Arc light is still a rare
commodity, although a couple of
studios have been using them for
some time with indifferent results.
As far as the equipment is con-
cerned— the French Debrie Super
Parve has tremendously increased
in popularity and nearly every stu-
dio even most of the smaller ones
now own at least one. In one major
studio in Calcutta there are a bat-
tery of such six cameras in opera-
tion together with a couple of Mit-
chells. The next to come in point
of popularity are the N. C. Mit-
chells, several studios having two or
more in addition to their Debrie
equipment. A few studios own the
French Eclair and at least one stu-
dio has the latest type. The English
Vinten too, has been in use, but the
past year has marked a decrease
>of its popularity.
The moving camera technique has
been very popular. While some
very excellent dollies have been lo-
cally constructed, a few studios own
and use the Hollywood Velecilator,
and another has the equally if not
more efficient Vinten equipment.
Cranes are still comparatively rare
there being only two in existence
in Bombay, both locally construct-
ed, while there are reports of the
construction of a third at Calcutta
and another at Madras.
All considered, pictures of 1939
show a more sympathetic photogra-
phic treatment than what had been
the practice hitherto. This may pro-
bably be due to a general realisa-
tion on the part of some of our
Directors of the importance of co-
ordinated efforts. It is a good
augury for the future and if the
practice spreads we may find 1940
giving us infinitely better pictures.
Real process work is still rare in
our studios and the credit goes to
a comparatively small producer who
Jayshree in Saraswati's "My
Beloved" awaiting release.
has been bold enough to establish
the nucleus of what may some time
be a real process department. The
use of projection backgrounds is
still not very popular although
there are about two regular units
working at Calcutta and a similar
number in Bombay. Several other
studios have improvised apparatus
of their own with which some sort
of work is carried on, but it is ad-
mitted that at present the industry
in general requires quite a lot of
development in process and special-
ly projection background work.
In the field of colour, there has
been little or no interest. With the
economic failure of Kisan Kanya,
in Cine-colour, the first colour pic-
ture to be produced and processed
in this country, the producers be-
came suspicious, although with
Mother India, the second such pic-
ture, a little interest revived but it
was not enough to be taken serious-
ly. In the south the writers own
process, the Polychrome acquired ;
some little popularity, but with the
general decline in interest it also
died a natural death. But the in-
terest in hand tinted scenes with
which some of our releases have
been shown, is enough evidence that
the demand for colour is present,
and with the return of more normal
times, a revival in the field of colour
may be safely expected. But it will
have to be good colour.
We feel this short resume of our
technical activities for the year will
not be complete with a reference
to the improvements in our exhibi-
tion theatres. While most of our
theatres upcountry and in the su-
burbs of the greater towns, still are
the worst offenders, nevertheless the
high intensity arcs are gradually re-
placing the older types and more
standard sound equipment is taking
the place of the rough and ready
amplifiers of last year. In the big-
ger cities the first fun theatres are
nearly all invariably fitted with the
latest types of projectors, the H.I.
Arc lamps and the Western Electric I
Microphonic sound.
The declaration of War in Europe
early in September this year gave
the Industry a definite set back and
alarmed every producer in this coun-
try. With the scarcity of raw ma-
terials both in film and chemicals,
the future became certainly gloomy,
but we are glad to say that this
gloom is gradually disappearing and
1940 may be a bigger year in the
advancement of the cinema in this
country.
26
S( IXTILLATING —
Sadhana Bose the charming Bengali star in Sagar's bilingual talkie "Earn Sum
(he Dancer" directed by Madha Bose.
RAVISHING—
Rajkumari, after her brilliant performance in "Gorakh Aya" she returns to
capture your hearts in Ranjit's "Achhut" — Directed by Sardar Chandulal Shah.
Studio Close-ups
RANJIT MOVIETONE
"On The River" which was re-
leased at the Pathe last month has
proved a popular picture. It is a
light comedy drama, and has appeal-
ed to all classes of people.
"Sant Tulsidas" is still going
strong all over the country. It is
heard that this picture has broken all
records at the Box-office, even that
•of their own picture "Toofan Mail."
Sardar Chandulal Shah is busy
preparing to release "Achhut"
(Gujrati version) at the Royal Opera
House. This picture brings back
to us Gohar and that is enough to
draw houses.
A. R. Kardar has completed
"Holi" and is fast progressing with
"Pagal" featuring Madhuri and
Prithviraj in the lead.
Jayant Desai has finished "India
To-day" and is now racking his
brains on a new subject.
Chaturbhuj Doshi is again up
and doing; this time he is defi-
nitely promising to give something
unique. It is going to be a serio-
comic picture with Charlie as the
hero and little Vasantee is there,
too!
BOMBAY TALKIES
Their recent release "Kangan" is
taking full houses at the Roxy
Talkies. Leela Chitnis has given a
fine performance and there are a
couple of very good songs.
Their next is "Rebel" featuring
Leela Chitnis, Ashok Kumar and
Rama Shukal, etc., and will be ready
in a week's time. Again the story
comes from the pen of Saradindu
Bannerji and the fans will get a
treat.
SAGAR MOVIETONE
Their "Kum Kum The Dancer" in
two versions has at last been com-
pleted and the Bengali version is
scheduled to be released at Calcutta
during X'mas Holidays. Mr. Madhu
Bose has taken great pains to make
this an outstanding picture and with
Sadhona Bose, Dhiraj Bhattacharya,
Padma Devi, etc., in the cast we
think his efforts will be crowned
with success.
"Civil Marriage" and "Ali Baba"
are complete and are awaiting re-
lease. And that is the end of Sagar!
WADIA MOVIETONE
"Kahan Hai Manzil Teri" was
released at the Lamington Talkies
and proved moderately popular.
With this Wadia Bros., have turned
a new leaf and they are to be con-
gratulated on their new departure.
Miss M. A. Rajamani in Mohan
Pictures Tamil Talkie "Jay Bha-
rati"
MOHAN PICTURES
"Hamara Desh," a powerful
"Social," is awaiting release.
"Volunteer" directed by K. Amar-
nath featuring Yasmin, Rajkumar.
Nazir, etc.. is fast nearing comple-
tion.
They have also produced a Tamil
film "Jai Bharati" featuring Baby
Rukmani and M. A. Rajamani, etc..
in the lead.
MINERVA MOVIETONE
The success of "Pukar" all over
the country has given more impetus
to Sohrab Modi and now he is busy
shooting "Bharosa" a story by Aga
Jani Kashmiri. The cast includes
Mazhar, Chandra Mohan, Sheela,
etc., in the lead.
SUDAMA PRODUCTIONS
Their maiden picture "As You
Please" is running well at the Im-
perial Cinema.
Their next is "Chingharee" fea-
turing Sabita Devi, and Prithviraj
and will, of ourse, be directed by S.
Badami.
SUPREME FILMS
"Ghazi Salahuddin" will be re-
leased on the coming I'dd day
throughout the country.
It is a well known historical sub-
ject and is bound to prove popular
at the Box office. The main cast is
led by Ratan Bai, Mazhar, Gulam
Md, Yakub, Lalita, etc., and is
directed by Hafeezji who, we think,
knows the Muslim ' History quite
well.
HINDUSTHAN CINETONE
Gunjal has finished "Mud" alias
"Apni Nagariya" featuring Shobhana
Samarth, Nazir, Jayant, K. N.
Singh, etc., in the lead. The story
is by that brilliant young writer, S.
H. Manto.
Chimanlal Luhar has started an-
other social story "Pravasi". full of
social problems.
CIRCO PRODUCTIONS
This concern who were hitherto
producing pictures at Calcutta have
come down to Bombay and have
taken up the old Ajanta Studio.
Their news bulletin says that then-
first picture "Laxmi" is going to be
"a high, wide and handsome" comedy
with Kumar. Bibbo and Maya in the
lead. Let us believe them.
NATIONAL STUDIOS LTD.
At last this studio has started
functioning at Film City.
POONA
PRABHAT FILM CO.
The magnificent response from all
over to Mr. Shantaram's "Life's for
Living" has once again convinced
him of the need of producing social
pictures with a message. As usual,
he is going to present something
entirely new in theme and treatment.
Production will start by the middle
of next month.
The shooting of "Dnyaneshwar" is
proceeding at top speed, half the
picture being over. Prabhat is
again bringing out new talents.
31
IT IS A SAGAR
PRODUCTION
SADHONA BOSE
who danced her way to All-India fame and whose
" ABHIN A YA !*
made film History in Bengal by its continuous run of 52 Weeks,
now reaches new heights in
KWn kUpn
—THE DANCER—
(HINDI and BENGALI)
WITH
DHIR^J 5H ATTACH AR1J A
PADMA DEUl ~ ROBl ROl]
MAHOMED 1SHAQ etc., etc.,
•
Directed by. MAC H II DOSE
IT© ilbe :r<e]<eai»ctl during A\)las
AT PARADISE TALKIES, CALCUTTA
IT IS A SAGAR
PRODUCTION
FOR BOOKINGS.
SUPREME FILM DISTRIBUTORS
DADAR MAIN ROAD. : BOMBAY 14
READY for MOHAN PICTURES
RELEASE SCREEN ATTRACTIONS
Miss RAJKUMAR!
TO STEAL YOUR HEARTS AWAY
A MIRACLE IN MOTION PICTURES!
AN ENTERTAINMENT DESTINED
TO CLING AMONG YOUR TREASU-
RED THOUGHTS FOR THE REST
OF YOUR LIFE !
VOLUNTEER
Directed by: K. AMARNATH
Put it on your
"MUST SEE"
List
Starring :
Miss YASMIN, NAZIR, RAJKUMARI,
S. NAZIR, J1VAN (O. K. DAR),
SAD1K, FAKIRMAHOMAD, OMKAR
VARNE, GOOLAM RASOOL SAD IK,
GARIBSHA, MAJID and Others
"SWASTIK"
Directed by:
MOH ANSINH
Coming
Attraction
irector :
NANUBHAI VAKIL
"Black Heart"
Directed by:
A.M. KHAN
&r uki«9S write ic. Ramiiilflal mohanlal & Co. Khetwadi Main Road, Bombay
December 1939
FILMINDIA
Young Dnyaneshwar is being played
by a new find Yeshwant, who will
thrill the audience with his golden
voice, while the grown up saint will
be played by Shahu Modak. Miss
Sumati Gupte, an educated girl, is
going to play an important female
role. Manju, that chit of a girl who
won the hearts of everyone by her
very first appearance in "Admi," is
also going to play an important role.
SARASWATI CINETONE
The veteran Dada Torney has
completed "My Beloved" and the
picture will be censored very short-
ly. The picture is full of comedy
and the fans will have a feast of
fun and frolic in it with a heart-
rending dramatic touches.
ARUN PICTURES
The cine fans all over India will
be delighted to know that the lovely
song bird of Maharashtra — Leela
returns to the screen after a long
absence. Who could forget her im-
pressive roles in 'Maya-Machindra,'
Malati Nishani' and 'Raja Gopi-
chand'?
Now under the banner of Arun
Pictures, she makes a return — and
to be sure — this time she will top all
her previous characterization.
"Goraknath" the new Aruna pic-
ture under production gives full
scope to Leela's histrionic abilities!
She has been supported by an array
of well known stars such as B.
Nandrekar CBagbhan' and 'Amar
Jyoti'), Vimal Sarriesai ('Mera Haq')
the picture will be distributed by
Peerless Pictures.
KOLHAPUR
HUNS PICTURES
Director Winayak is forging ahead
with his "Better Half" alias
f'Ardhangi" featuring himself,
Minaxi. Leela Chitnis, Baburao
Pendharker and Damuanna in the
lead. Pandurang Naik the wizard
with the camera once again photo-
graphs the picture.
NAVYUG CHITRAPAT LTD.
This is a new limited concern re-
cently formed with a capital of Rs.
25 lakhs. The managing agents of
this company will be Messrs. Huns
Pictures. The prospectus of the
Co.. appear elsewhere in this issue.
CALCUTTA
NEW THEATRES
"Jawani Ki Rit" in Hindusthanl
and "Parajaya" in Bengali is ready
for release. The former version will
be released in Bombay during this
month by the Calcutta Film Ex-
change. The picture presents
Kanan and Najam in the main cast
and is directed by Hemchander.
P. C. Barua's "Zindagi" is nearing
completion. He is now busy pre-
paring the trailer of his picture.
ASSOCIATED PRODUCTIONS LTD.
Director D. R. Das is progressing
with "Andhi" in Hindi and "Alo
Chhaya" in Bengali version. Molina,
Punkaj Mullick, Sreelekha, Manju,
K. C. Dey play leading roles.
SOUTH INDIA
SRI JAGADISH FILMS (Madras)
Shooting of "Malli Pelli" their
ambitious Telugu social is reported to
be complete. Miss Kanchanamala
plays the role of the young widow
opposite the veteran South Indian
actor-director Y. V. Rao.
MURUGAN TALKIE FILM CO.
(Madura)
"Rambha's Love" has turned out
to be a success.
"Manju Gosh" will be their next,
starring the famous actor M. K.
Thyagaraja Bhagavathar.
GENERAL FILM DISTRIBUTORS
(Madras)
"Pandurang Vittal" is awaiting re-
lease in the city. B. V. Ramanandam
directed this puranic theme.
TRINITY THEATRES LTD.
(Madras)
"Chandragupta Chanakya" is
occupying the studio floors at the
Kali Film Co., Calcutta. Mr. C. K.
Sachi is quite confident of doing well
at the megaphone.
NAVEENBHARAT PICTURES
(Madrus)
They have announced "Kala
Chakram" a social in Telugu. Shoot-
ing has already been commenced.
VAUHINI PICTURES LTD.
(Madras)
The enterprising trio — B. N.
Reddy, Ramnoth and Sekhar have
started the shooting of "Sumangali"
their new social. New faces will be
a feature of this film.
AURORA FILM CORPORATION
(Madras)
Master V. N. Sundaram plays the
name role in "Sri Sankaracharya"
shortly to be released at the
Wellington, Madras.
SALEM MOHINI PICTURES
(Salem)
Ellis R. Dungan is reported to be
giving expert and original finishing
touches to "Kavi Kalamegham" at
the Prakjoti studios.
GOODWIN PICTURE CORP.
(Bangalore)
Distribution of "Malati Madhavan"
a Telugu social featuring Miss Push-
pavalli, produced by B. L. Khemkha
and directed by C. Pullaya at the
Metropolitan Pictures, Calcutta is
now in the hands of the above suc-
cessful distributors.
MOTION PICTURE PRODUCERS
COMBINE LTD. (Madras)
"Surya Puthri." a Tamil picture,
is reported to be under production.
DWARAKANATH PRODUCTIONS
( Madras)
The long awaited mighty mytho-
logical' hit "Dana Shura Kama" is
reported to be ready for release
shortly.
ANGEL FILMS LTD. (Salem).
"Parasuramavathar" a Tamil my-
thological featuring M. R. Krishna-
moorthy. Master T. R. Mahalingam.
Sirukulathoor Sama. N. S. Krish-
nan, Maduram etc., is well under
completion.
THE CENTRAL STUDIOS LTD.
(Coimbatorc ) .
"Prahalada" a Tamil mythological
with Master Mahalingam and San-
thanalakshmi is shortly to be re-
leased.
"Sathi Murali" another mytholo-
gical in Tamil is reported to be a
lavisn production and is almost
complete. Release is awaited
shortly.
3S
Written and Directed by ;
Kl D A R SH ARM A
Drawing Crowds at :
KRISHIIR THIiKIES
Charni Road, Bombay
Crl VOU
V
or
%D!L-WITOUAI^F
FILM CORPORATION'S MIGHTY SOCIAl
Those who see it, Say it is Sptei
and it is a compliment
Stupendous, Gorgeous,
Marvellous, Magnificent etc*,
are words and cost nothing:
@
as
to
ROMOLLA DEVI, GIANI, NAND KISHOR
RAMDULARI, MUZZAMIL, Etc.
A Pi
of tl
of tl:
icture 01 rue prooiems 01 rne
PARENTS and our 50 called
Educated aSoiis & Daugkters of to-day.
Sole Distributors:
EMPIRE TALKIE DISTRIBUTORS,
Sandhurst Road, Bombay 4.
Sub Agents
For South India For CP., C.I.
GOODWIN PICTURES # BHARAT PICTURES
Bangalore. Akola, Berar.
Saraswati
C i no to n e
(Poot? a)
offers another Social Drama tc warm yout hearts 'and provoke youf thoughts
"MY BELOVED"
(MAZI LADKI)
MARATHI
Direction: K. G. TOKNEY
I he Gags are brilliant,
The Wise cracks superb.
Hi c Fun Furious
Jhe Romance Record Breakin"
Featuring :
Jayshree, Pandit, Ratna-
mala, Danve, Dinkar
Kamanna etc;
For Bookings :
KAPURCH AND L™
NEW QUEENS ROAD T- 5BOMBAY,- 4
★
Allah be praised for this Mighty Entertainment !
You Saw "CRUSADES" !
Now See The Other Side Of The Medal In
GHRZI SMiflHUDDIN
A Drama Straight From The Pages of History.
Brought to the Screen by a magnificent Cast in which
euery star seems to be chosen by destiny to play
each role:
1
dsazi '
SALAHUDDIN
RATANBAI, MAZHAR, GUI AM MD.,
YAKUB, ISHWARLAL, LALITA DEVI,
W. M. KHAN Etc.
It will set your imagination gloriously aflame.
Produced at ranjit STUDIOS
9or Hot) Liny < Ofpply to
SUPREME FILM DISTRIBUTORS, Dadar Main Road. Bombay 14.
First Time in the History of
NATIONAL RECORDINGS
(YOUWQ IWDlA
Bai Roshanara Begum the famous Muslim
ngstress sings two Delightful Marahhi Bhajans
on T. M. 8365
Mi Tuzya Dwari Radha
Tuz Vina Shodhu Kuthe Adhar
Roshanara Begum
You h«ve Seen end enjoyed APMI —
now hear end enjoy ifs Record i
ON YCIN6 INDIA
THRILLS FOR YOUR EARS!
Sang Lagte' Hur Hur Kasli "
Swar Sundari "
on
D. A. 5847
Vasant Desal
Kum arijay shree
For Full Particulars Catalogues etc:-
THE NATIONAL GRAMOPHONE RECORD MANUFACTURING CO., LTD.
2ESZ ♦ iio» medows street- fort* bombay # wA^£Fs&m
RAJKUMARI —
Plays the leading role and sings some fine songs in Mohan Picture's forthcom-
ing attraction "Volunteer" directed by K. Amarnath.
A.
HEADS UP\...FILM FANS !
CIRCO'S GREATEST FILM FESTIVAL
= — ►LAXMI . . .
A MUSICAL COMEDY WITH A RED SIGNAL
AGAINST THE EXISTING CONVENTIONS
OF SOCIETY.
LAXMI*.
A mighty emotional drama depicting the
heroic efforts of A TRUE WOMAN OF
INDIA who fought against society to have
her husband back.
(WOMAN OF INDIA) St<*^ :
K 1' M AR. BIBB O, 31 A Y A
Directed by :
31 O II A A SIKH
COMIftG SHORTLY
AT YOUR
THEATRE
*^ Spinstingling Jlduenture
A SELECT SERIAL
Scene from "The Fighting Devil Dogs," a Republic serial.
The FIGHTIRG DEUIIi DOGS'
12 Corking Chapters that Hoar with
Action and thrills.
The Marines to the rescue !
Smiling sons of battle march bravely
to the Rescue of their country to
protect it from the treacherous
mastermind of the underworld
the mysterious " LIGHTING "
Hawk star in new Smash Serial
Lee Powell and Herman Brix,
who thrilled you as Hawk, in a spectacular
Chapter play of the Marines all over the world.
More powerful than
"Darkest Africa" "Under'Sea Kingdom"
SELECT SERIAL SUPPLY
PAREKH STREET, BOMBAY.
Tk-nt; 41246
1939 — From the frontiers of De-
cember one looks back upon an
eventful year. The year of the Sil-
ver Jubilee Celebrations and the
Motion Picture Congress, the year
•of "Bari Didi" and "Admi", and, in
a different sense, the year of "Gun-
gadin" and Baburao Patel's crusade
carried right into the heart of Holly-
wood. It has been the year of
Sagar's downfall and the rise of a
dozen new concerns. A year full
of life and activity, organization and
■enterprise, perhaps the most signifi-
cant year in the history of the In-
dian film industry.
COMING-OF-AGE
The celebration of the Silver
Jubilee and the first session of the
Indian Motion Picture Congress, by
far the most important event of the
year, marked the coming-of-age of
Indian cinema which may no longer
be regarded as an infant in strad-
«dling clothes. With maturity it
rmust now not only demand greater
-privileges but also assume larger
responsibilities as a potent cultural
medium and one of the key-indus-
■iries of the country.
RARE PHENOMENON
The advent of this new phase was
reflected in the deliberations that
took place on the Reclamation
grounds in May last. The biggest
achievement of the Indian Motion
Picture Congress is that it was held
at all ! For the various producers,
■distributors and exhibitors to forget,
at least for some time, their petty
jealousies and rivalries and to co-
operate in common interests is a
rare phenomenon the significance of
which can be gauged only by those
who know something of the internal
affairs of the studios. And for the
K. Ahmad Abbas
excellent success of the Congress
and the Silver Jubilee Exhibition,
the industry will ever remain in-
debted to Sardar Chandulal Shah
whose unerring enterprise and tact-
ful resourcefulness made an impos-
sible task a brilliant possibility.
ORGANIZATION
Even more significant was
the formation on this occa-
sion of associations for Film
Journalists, Film Artistes, Tech-
nicians, Distributors and Exhi-
bitors. The first three associations
have been doing excellent work
since and have done much to safe-
guard the interests of their respec-
tive constituents. It is one of the
happy paradoxes of capitalism that
as an industry reaches a stage of
development when it is necessary
for the capitalists to organize for
consolidation of their position, simul-
taneously we see the employees too
organizing themselves for the de-
fence of their own rights. (The
producers have welcomed these or-
ganizations but already it is evident
that they must often come into con-
flict on the age-old issue of Labour
versus Capital).
POINTERS
Throughout the year I have
noticed this sense of increased sob-
riety and responsibility in a variety
of ways which have left no doubt in
my mind that, slowly, painfully, re-
luctantly but inevitably, the Indian
producers are being forced by the
cultural awakening in the country
and the quickening of the national
pulse to come closer to life's reali-
ties and to bring to bear on their
films at least a sham semblance of
seriousness. That even stunt films
have titles such as "Jai Swadesh"
and "Rangila Mazdur" and often
depict the hero or heroine to be
champions of the poor, that Wadia's
undertook an expensive experiment
in "Kahan Hai Manzil Teri?", that
Mohan Studios pretended to discuss
the problem of violence versus non-
violence in "Swastik", that the hero
of Sagar's "The Only Way" flung
fiery words against war and social
injustice from the screen, that
Minerva tried to discuss the problem
of "Divorce", that the studio and
the Directors who had made lakhs
out of "Toofan Mail" produced
"Tulsidas" and "Achhoot" — are these
not significant pointers to indicate
the birth of a new era ? True that
the intellectual capabilities of most
Directors being limited, some of
these vital themes are dealt in a
more or less crude, slipshod
manner. But, then, is it not suffi-
ciently remarkable that they at least
thought of producing pictures on.
such themes ?
TECHNIQUE GOES FORWARD
Turning from the sociological
content of pictures to their techni-
cal aspects^ I think the year 1939 has
witnessed almost a revolution in the
technical standards of average In-
dian pictures. New Theatres, Pra-
bhat and Bombay Talkies were al-
ready well-known for their excel-
lent technique through the daring
experiments in montage and sym-
bolism tried in "Admi" are a chal-
44
lenge even to these studios. But
what is more important is that
other studios also are now devoting
considerable attention to improved
cinematography and sound-record-
ing. In this connection, I cannot
help mentioning the excellent results
that Krishna Gopal has been able to
achieve in Ranjit pictures. His
handling of the camera and lights
was, in my opinion, the outstanding
technical achievement of the year.
Processing, a field in which Bombay
Talkies have always excelled, is also
showing signs of all round improve-
ment though it is clear that it has
not kept pace with the tremendous
improvement in photography which
one can notice even in the pictures
of such studios as Sa^ar, Film Cor-
poration and, to a lesser degree, in
Wadias.
NO HITS ?
Except for the sensational success
that Bombay Talkies' "Bhabi" had
at Calcutta and the phenomenal po-
pularity of "Sant Tulsidas" and
"Pukar ', I don't think 1939 has pro-
duced many 'hits' which would run
as many weeks as "Tukaram",
"Dhoop Chhaon", "Amrit Manthan"
etc. That, however, is certainly not
due to lack of good pictures but ra-
ther due to a generally improved
standard of pictures, so that no one
picture can have a record-breaking
success.
"Admi", by far the best picture
of the year, daring in its conception
of a vital theme and equally daring
in its treatment, years ahead of ave-
rage pictures in technique, must pay
the price that original genius has
always paid. It is running well
everywhere but it is doubtful if it
will be among the year's three most
successful pictures at the box-
office. I have no doubt, however,
thai five years hence any second-run
cinema that is lucky to show "Admi"
will find it to be a small gold-mine.
"Bari Didi", which I regard as the
year's second best picture, proved
to be a box-office failure. Which
was a great pity as Amar Mullick's
maiden directorial triumph deserved
universal appreciation. This young
(?) man's sudden emergence as a
fine director may be recorded as one
of the outstanding events of the
year. But for his "Bari Didi", New
Theatres record would have been
very poor, indeed — as Nitin Bose's
"Dushman" (technically delightful)
had a very weak story, Devaki Bose's
"Sapera" surprisingly bad technique
and Phani Mazumdar's "Kapal Kun-
dala" was a model of bad direction.
From the box-office point-of-view
"Sant Tulsidas" and "Pukar" were
the best hits of the year. The Ran-
jit picture, notable for its extra-
ordinarily distinguished technique,
scored by virtue of its appeal to the
devotional-minded folk, heightened
by the 'Bhajans' sung by Pagnis.
A TABOO BROKEN
"Pukar" succeeded inspite of bad
technique and weak direction. The
reasons for its success are worthy of
analysis. I would put them in the
following order ( 1 ) The spectacular
nature of the picture — the Glory
that was Ind — provided a refreshing
relief from the glut of "Social" pic-
tures we had been having. (2) The
sentiment of the picture — an Em-
peror's devotion to the ideals of
justice — appealed to people, while
the underlying motif of Hindu-Mus-
lim unity under the Moghals also
helped to make it popular. (2) The
generally chaste Urdu dialogues of
Kamal Amrohi. with their occasion-
al literary flourishes, went extremely
well with audiences in Northern
India.
The moral to be drawn from the
success of "Pukar" is that new sub-
jects always pay. And the out-
standing contribution of this picture
has been lifting of the taboo on
themes pertaining to Muslim history
or tradition.
Bombay Talkies began the year
well with "Bhabi' which introduced
Renuka Devi as a potential star.
After that their "Durga" was nota-
ble principally for the acting of De-
vika Rani but "Kangan" promises
to be a 'hit', being a sound, all-
round entertainment.
In this studio the year saw two
important changes. Their German
Director and technicians, arrested
at the outbreak of the war, were
successfully replaced by their Indian
assistants and for the first time Bom-
bay Talkies engaged an already-es-
tablished star — Leela Chitnis !
RISE AND FALL
On the whole it would
appear that while Bombay
Talkies maintained their usual
level — neither dropping down
nor reaching newer heights — , New
Theatres definitely came down from
45
FILMINDIA
December 1939
their previous eminence (the only
redeeming feature being "Bari
Didi"). Prabhat who were in dan-
ger of a deterioration after "My
Son" once again went to the top
with Shantaram's "Admi". Among
other studios, Ranjit and Minerva
went up with their "Tulsidas" and
"Pukar", respectively, while Huns
maintained their rising reputation
by following the success of "Bram-
hachari" with "Brandy Bottle" and
"In Search Of Happiness". Sudama's
made a good start with "As You
Please". Supreme's "My Eyes" no
sooner opened than closed but
"Ghazi Salahuddin" is eagerly
awaited. Hindustan Cinetone (heirs
of Saroj Studio) may come up.
1939 will be sadly remembered
as the year that saw the collapse of
Sagar, one of the oldest studios in
India. They seemed to have start-
ed the year fairly well with "Ladies
Only" and "The Only Way" and had
announced an ambitious programme
including two bi-lingual pictures
("Ali Baba" in Punjabi and Hindus-
tani and "Kumkum The Dancer" in
Bengali and Hindustani) for which
they considerably increased their
staff of artistes and technicians. But
then something went wrong, "Com-
rades" proved treacherous, there
were rumours of mergers, closures,
mortgages of pictures, reduction of
staff, heart-breaks and tears until
today the old Sagar glory is no
more, and Seth Chimanlal Desai
plays the second fiddle to the Fazal-
bhoys in the newly-formed National
Studios. It is a sad, sad story with
its own moral.
BIRTHS, DEATHS!
Over the combined ashes of Sagar
and General Films (whose "Pati
Patni" was - an appropriate epitaph)
has risen the new concern called
National Studios. They claim to
have an ambitious programme but
time alone will show how far their
claims are justified.
Among other new production
units recently formed in Bombay
one may mention Circo's (who were
working in Calcutta so far), India
Artistes Ltd., Ray Pictures, Sofiana
Pictures, etc., while in Poona we
have Arun Pictures and Navyug
Chitrapat Ltd., (to be managed by
46
Huns Pictures), and Famous Films
in Kolhapur.
Several concerns closed down
during the year; Krishin Movietone,
Daryani; Saroj, and Jayshree Films
of Poona.
PUNJABI PICTURES FOR
PUNJAB
The year will also be notable for
the reappearance of production units
in Panjab which had suffered an
eclipse after the advent of the Tal-
kies. Some talkies in the Panjabi
language, produced early in the year,
which revived popular romantic le-
gends of Panjab like "Heer Sayal",
Sohni Mahival" and "Mirza Sahi-
ban" achieved phenomenal box-
office success. This encouraged a
spate of Panjabi films produced not
only in Lahore but also in Bombay
and Calcutta. The initial curiosity,
however, is already dying out and
it is well-known that except the first
few ones, Panjabi films are no lon-
ger the gold-mine that at one time
they were supposed to be.
But due to the popularity of these
Panjabi pictures, as also due to the
enlargemnt of the market in South
India, Panjab is losing the position
it had as the biggest market for
Hindustani pictures. On the other
hand, since the sensational record-
breaking run of "Achhut Kanya" in
Calcutta, Bengal is seeing more and
more Hindustani pictures sent from
Bombay. In this field Bombay Tal-
kies have come to hold an unrival-
led position and the recent success
of their "Bhabi" in Calcutta has fur-
ther consolidated their hold on Ben-
gal.
SOUTH INDIA ADVANCES
Finally, we come to South India
which is fast becoming as import-
ant a centre of film production as
Bombay or Calcutta. South Indian
films which hitherto had suffered
from crudities of technique have re-
cently shown signs of considerable
improvement and the one or two
(e.g. "Thyagabhoomi") that I have
had an opportunity of seeing in Bom-
bay were technically excellent, if
not perfect. The number of Tamil
and Telugu films is increasing and
their quality may also have improv-
ed but if South Indian producers
wish to make a mark in the larger
sphere of the national film industry
they will have to make pictures in
Hindustani.
While production in provincial
languages is to be deplored in the
interest of the national language,
there is no doubt that Panjabi, Ma-
rathi, Tamil and Telugu films have
opened up a vast new business field
in small towns and villages where
the talking pictures had never pe-
netrated before. Even if for the
present they have caused a tem-
porary set-back to producers of Hin-
dustani pictures, ultimately they
will bring about a much-needed
extension of the film market in
India.
THE WAR
No review of 1939 can be com-
plete without a reference to the
situation created by the outbreak of
the war. The first reaction was one
of panic and it seemed that simply
because a supply of Agfa film stock
was no longer available, the Indian
film industry was going to collapse,
and at once the air was thick with
reports of retrenchments and 'cuts',
abandonment of production plans
and delay in scheduled releases. This
exhibition of amateurish helpless-
ness has once again emphasized that
our industry is not yet organized on
sound business-lines and is still lar-
gely conducted as a speculative en-
terprise. Real businessmen would
have seen at once that the war, far
from being a death-blow, had pro-
vided a unique opportunity to re-
organize the industry on more scien-
tific and rational lines. The Bolshe-
vik Revolution followed by the com-
mercial blockade, gave an impetus
to the Russian film-producers and,
faced with shortage of film, they
went ahead to perfect a new system
of 'editing-on-paper' by which the
scenario was so constructed that the
director was to waste no footage
while 'shooting'. If only the pro-
ducers insist on getting a proper
scenario written before allowing a
director to start 'shooting' it would
mean better pictures as well as con-
siderable saving of time and ex-
pense.
And thus, while approaching the
threshold of 1940 we look forward
to a year of great opportunity. Will
it fulfil the hopes of 1939?
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CALCUTTA
COMINGl
★ KHURSHID * ASHIQUE HUSEIN
THE DALGHTEE§ CE INI IA
in
The Qreater Picture Since "MOTHER-INDIA"
The DAUGHTERS OF INDIA
A SUPER PICTURES PKOIH CXION
The Brains of "MOTHER-INDIA" Behind it in Making !
Wl
tfl
cScenatz'o Qontinuiiy '
• M. G. DAVE
VIMALA DEVI, ABDUL KADER
* RADHA DEVI, LEELA DEVI m
Q)irectot :
• V. M. VYAS
THE CLIMAX OF HUMAN INTEREST PICTURES
•jr.
■ — — — &0T Jiookinq Ofpply to;
VICTORY PICTURE DISTRIBUTORS, Kennedy Bridge, Qrant Road. BOMBAY 7
ROUND TL TOWN
NADI KIN ARE (On The River).
Produced by Ranjit Movietone -
Story by: J. P. Adwani - Direction:
Manibhai Vyas - Dialogues: R. S.
Rammyae - Music: Jnan Dutt -
Cinematography: Dronacharya -
Audiography: Thakorbhai Patel -
Cast: Kumar, Sitara, Indubala
Sunita, Charlie, Ghory, Sushila, Ram
Marathe etc. - Released at Pathe
Cinema, Bombay. Date of Release:
10th November 1939.
With this picture, Ranjit reverts to
the "Toofan Mail" type of pictures —
with one difference ! They have
tried to graft the serious psychologi-
cal aspects of pictures like "Devdas"
on to a sheer farce and given the
picture a tragic ending and the re-
sult is a tragedy of misconceived
ideas and lack of dramatic unity. A
director cannot have it both ways.
Either he is to tell the public: "Here
is a sheer nonsensical but enjoyable
farce. Don't look for realism or
logic in it. It is only meant to make
you laugh", or if he pretends to
treat a serious problem in a serious
way, confronting his audience with
a tragic ending, then he must bear
the scrutiny of critical intelligence
and answer for his lapses into in-
credible orgies of 'farcialities'.
Mr. J. P. Adwani is supposed to
be the author of this photoplay. He
is to be congratulated on giving us
in a single picture the pick of the
humorous situations from atleasi
three foreign pictures — "Blue-
beard's Eighth Wife", "Rage of
Paris" and "King And The Chorus
Girls". Or has he never heard of
these pictures ?
The Story: A drunkard Prince
Anand (Kumar) is to be married,
according to the decision of his
Council, to Princess Sarita (Sunita
Devi) of a neighbouring state. Then
he falls in love with Nama (Sitara),
a Gipsy girl. She is brought to the
Palace disguised as a Princess to
exercise a healthy influence on the
Prince and cure him of the drink ha-
bit. Having lost her memory in an
accident, she really believes herself
to be a Princess (though it is re-
markable that not once does she
want to go back to her 'royal' fa-
mily!) The Prince gives up drink-
ing under the influence of his love
for Nama. Then there are a series
of misunderstandings, as Nama was
already engaged to be married to a
man from her own tribe. When her
memory returns she finds herself
suspected of treachery by both her
lovers - the Prince as well as the
Gypsy. And, then, just as we are
expecting the clouds to roll by and
the Prince and his beloved recon-
Maya — appears as the leading
lady of Circo's "Laxmi".
ciled, the Gypsy girl for no rhyme
or reason goes and drowns herself
in the river, and for once the hero
cannot save the heroine !
Production: Technically Ranjit
pictures, even in the B Class, are
showing considerable improvement.
The Director, however, has failed t->
make the best use of the cinemato-
grapher and the audiographer. For
more than half the picture the slap-
stick technique is used to good effect
scoring many laugh-hits but after
that 'psychology' comes upon the
scene and all the characters who
were hitherto fooling about develop
a heart and conscience and start
running after one another to the
background song of Indubala ! No
wonder the credit titles don't men-
tion the name of the scenario-writer!
Performances: Kumar is not
meant to play such frivolous roles.
But still he does his best in the cir-
cumstances and towards the end
gives a really good performance as
the remorseful lover. Sitara is viva-
cious and full of pep and gives a
spicy portrayal of the gypsy girl.
Charlie and Ghory, as usual, make a
good comedy pair — in the old slap-
stick tradition. Kantilal sings some
excellent songs but better still is
the nameless actor who sings "Nadi
Pukare, Ao Sajan, Nadi Kinare."
Those who want to make a com-
parative study of directorial ability
ought to see Ram Marathe in "Admi"'
and then see him in "Nadi Kinare."
Points of Appeal: As a comedy,
spiced with a number of song-hits,
this picture ought to do well. But
if it is to be enjoyed it should not bo
taken too seriously.
KAHAN HAI MANZIL TERI
Produced by: Wadia Movietone -
Story, Dialogues and Songs: Wahid
Qureshi - Direction: S. M. Yousuf -
Music: Madhavlal Master - Cinema-
tography: M. A. Rehman - Audio-
graphy: Behram Bharucha - Cast:
Ila Devi, Radha Rani, Urmila, Na-
zira, Harishchandra. Shah Nawaz,
Master Chhotu etc. Released at :
Lamington Talkies, Bombay - Date
of Release 9th November 1939.
The release of this picture marks
an important landmark in the life
of the enterprising Wadia Movietone
who had hitherto restricted them-
selves to the production of stunt
pictures and 'thrillers', some of
which had, indeed, made box-office
history. "Kahan Hai Manzil Teri?"
(There is no reason to be frighten-
ed by the title) is a lavish and am-
bitious production which deserves
credit more for its enterprise than
for its achievement !
The Story: At the opening of the
story, we are shown a Santhal tribe
preparing for the annual sacrifice of
a virgin at the altar of the local
'god'. Actually, the unscrupulous
and wily High Priest Balraj (Shah
Nawaz) has arranged to keep the
'sacrificed' virgins in a hidden
chamber, to be the unwilling victims
of his lustful passions.
Paras (Harishchandra), a spirited
youth, protests against the sacrifice
of his sister and thus earns the ire
49
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December 1939
FILM INDIA
■of Balraj from whom he escapes by
the skin of his teeth. In his escape
he is helped by Godavari (Radha
Rani), the daughter of Balraj him-
I self, who is in love with him.
Paras goes to Vidya Nagar, the
■capital of an Arya King Satluj, who
is determined to root out the prac-
tice of virgin sacrifice among the
| primitive Santhals. Here Paras be-
comes the object of the affection of
the King's daughter. Ragini (Ila
Devi) whose sentiments he recipro-
i cates. He has little time for love,
I however, as his primary object is to
avenge his father's death and his
sister's 'sacrifice.' In Vidya Nagar.
too, there is an atmosphere of intri-
gue created by Maha Mantri Naru
who is in league with Balraj for the
realization of his own ambitions.
King Sutluj is killed treacherously
and Princess Ragini is abducted and
handed over to Balraj to be sacri-
ficed. Paras, trying to save her,
walks into a trap from which only
the devotion and daring of Goda-
vari saves him. But Godavari her-
self has to pay the price of un-
requitted love and dies at the hands
of her enraged father. Ultimately,
Paras is able to expose Balraj as
the scoundrel that he is. a symbol
of the corruption that so often goes
on under the garb of religion, the
idol that had stood for centuries as
a monument of superstition and op-
pression is shattered, the Santhals
and Aryans are united in a bond of
brotherhood and Paras wins the hand
of his beloved, Princess Ragini.
Production: I am afraid Wadias
and Director Yusuf over-reached
themselves in selecting such a diffi-
cult subject which needed consider-
able research into the customs and
manners of ancient India. It is
doubtful if virgins were ever sacri-
ficed in India in the manner shown
in the picture. In dress, dances, etc.,
also there are many incongruities
(e.g. introduction of the atmosphere
of African jungle films) which could
have been avoided if someone
familiar with ancient Indian history
had collaborated on the production.
Moreover, the picture suffers from
comparison with such earlier films
as -'Amrit Manthan" and "Beyond
The Horizon", traces of which can
be seen in "Kahan Hai Manzil
Teri ?"
With these reservations, one may
say that Wadias have spared neither
effort nor money to make this a
lavish and spectacular film. The
direction is fairly adequate and
photography is surprisingly good —
the mass scenes having been shot
with the help of a crane are often
impressive. The editing should have
been better and the piling up of
gruesome incidents and unlovely
sights (such as torture chambers,
disfigured and diseased persons;
should have been avoided. Perse-
cution is more eloquently expressed
through 'suggestion' than by such
gruesome details.
Performances: Ila Devi (who had
failed to impress me in any of her
previous pictures) has not done bad-
ly in this picture, though she is
eclipsed to some extent by Radha
Rani whose role gave her more scope
for histrionics. Shah Nawaz as Bal-
raj makes a menacing figure and.
helped by correct lighting, his cha-
racterization is impressive though it
has been obviously modelled after
Chandramohan's 'Raj Guru' in Pra-
bhat's "Amrit Manthan". Agha's
crazy antics may appeal to some
whc like this sort of broad farce.
Points of Appeal: Wadias have al-
ready got a large number of fol-
i Continued on page 56)
53
(A copy of this Prospectus has heen filed with the Registrar of Companies,
A*p«** 4 THE NAVAYL
AUTHORISED CAPITAL
Rs. 25,00,000 (Twenty-five Lacs).
DIVIDED INTO
15,000 Ordinary Shares of Rs. 100 each; and
10,000 Six per cent. Redeemable Preference Shares of Rs. 100 each.
PRESENT ISSUE Rs. 10 LACS
6,000 Ordinary Shares of Rs. 100 each, and 4,000 Redeemable Pre-
ference Shares of Rs. 100 each, bearing Six per cent, fixed cumulative pre-
ferential dividend per annum without any further right to participate in
profits and liable to be redeemed at the option of the Company in the
manner hereinafter mentioned.
Out of the above issue the Directors of the Company, Managing
Agents, their friends, distributors and Associates have agreed to take up
shares of the face value of Rs. 2,00,000. The remaining shares are offered
for public subscription.
The amount payable in respect of both the Ordinary and Preference
shares is as follows: —
(a) On application Rs. 25 per share;
(b) On allotment Rs. 25 per share; and
(c) the balance of Rs. 50 as and when called up, provided that the
first call of Rs. 25 shall not be made before the expiry of
three months from the date of allotment, and the second call
of Rs. 25 shall not be made before the expiry of six months
from the date of allotment.
The Preference Shares are redeemable as the Directors may deem
necessary at any time after ten years from the date of incorporation of
the Company (i. e., 28th October, 1939) on six months' previous notice
being given as mentioned in the Memorandum of Association.
Board of Directors:
Prof. V. G. KALE, M.A„ Ex-member, Indian Tariff Board and the Council
of State; Chairman, the Bank of Maharashtra Ltd.; The Maharashtra
Industrial Instruments Ltd.; Vice-Chairman, the Brihan Maharashtra
Sugar Syndicate, Ltd.; Director, the Commonwealth Assurance Co..
Ltd.; the Bombay Provincial Co-operative Bank, Ltd.; the Mysore Silk
Filatures, Ltd.; and the Poona District Co-operative Land Mortgage
Bank, Ltd.; President, the Maharatta Chamber of Commerce and In-
dustries, Poona 4. (Chairman).
Rao Bahadur V. L. THUBE, M.L.A., Contractor; President, Suburban Muni-
cipality, Poona.
Sardar Jagannath Maharaj Pandit, Ex-Member, Council of State; Director,
B. M. Sugar Syndicate, Ltd.; Chairman, Trust of India Assurance Co.,
Ltd., Poona.
Rao Bahadur G. B. KALE, J.P.. Asst. Engineer, P.W.D. (Retired), Poona.
G. V. SALVEKAR, Esq., B.A., Proprietor, Sardar Griha. Bombay; Director,
Maharashtra Industrial Investments, Ltd., B. M. Sugar Syndicate, Ltd.,
and Southern Knitting works, etc.
B. B. Walvekar, Esq., M.LA., Ex-President, Poona City Municipality; Direc-
tor, Bharat Industrial Bank. Ltd., Poona.
A. V. RANADE, Esq , Contractor, Deccan Gymkhana, Poona.
Principal P. K. ATRE, B.A., B.T., T.D. (London), Ex-Officio ; Chairman,
Standing Committee. Poona City Municipality, Poona.
BABURAO PENDHARKAR, Esq.. (Ex-Officio) ; Cine-artist, Kolhapur.
Bankers: (Proposed)
The Central Bank of India, Ltd.. Bombay.
The Bank of India, Ltd., Bombay and Poona.
The Bank of Maharashtra, Ltd., Bombay and Poona.
The Presidency Industrial Bank, Ltd., Poona.
1.
2.
3.
4.
Auditors:
1. G. D. Apte, Esq.. B.A., G.D.A., Registered Accountant, Laxmi
Road, Poona.
2. Messrs Kulkarni & Khanolkar, Registered Accountants,
Bombay.
3. Messrs. B. C. Abhyankar & Co., Registered Accountants,
Bombay.
Solicitors:
Messrs. Divekar & Co., Fort, Bombay.
Managing Agents:
Messrs. the Huns Pictures, Ltd., 980, Sadashiv Peth (Laxmi
Road). Poona 2.
Secretary:
S. R. Rajaguru, Esqr., 980, Sadashiv Peth (Laxmi Road), Poona 2.
Registered Office:
"Commonwealth Building," Laxmi Road, Poona 2.
(Registered un
Objects: — The Company has been
formed for the objects mentioned in
detail in the Memorandum of Asso-
ciation and particularly for the pur-
pose of carrying on the business of
producing, financial purchasing, sell-
ing, hiring or exhibiting cinema
films of all descriptions.
Future Prospects: — The Cinema
Industry has progressed with rapid
strides during the last twenty-five
years and has now come to occupy
a prominent position among the
National Industries of this country.
More than twenty crores of rupees
have been invested in this industry.
About 40,000 persons are employed
in the actual production work and
there are over 700 cinema houses
spread all over the country. These
figures clearly show that the indus-
try is steadily growing and it has
undoubtedly a great future before it.
"It is the eighth largest industry
in India," as His Excellency Sir
Roger Lumley, the Governor of
Bombay, said on the occasion of the
inauguration of the Silver Jubilee
Exhibition, "one which had already
served and is bound to serve still
more, to support and call into being
other industries also, which in their
turn find employment for many
thousands of people and provide a
useful channel for investment."
At present most of the producing
concerns in India are purely pro-
prietary who do not often possess
their own capital but carry on busi-
ness with money borrowed from
capitalists at an exhorbitant rate of
interest. There are also other handi-
caps which they have to labour
under as a consequence of this ar-
rangement. None the less, their con-
cerns seem to go on thriving, and
yet the lion's share of profit goes
straight to the capitalists. A case
in point is that of the record-break-
ing popular picture "BRAHMA-
CHARI," by Principal Atre which
was produced by Huns Pictures at
a cost of about Rs. 80,000 and is re-
ported to have made over 200% net
profit in a year's time. That there
is such wide scope for profit-making
in this field is clear from the fact
that the capitalists and businessmen,
who have little appreciation for art
and its educating and ennobling
effects, are rushing into this indus-
try, with the result that the artistic
and humane outlook of this industry
has tremendously suffered and the
Indian picture is getting hopelessly
superficial and commercialized. With
a view to broaden the narrowly com-
mercial outlook of this industry and
to purify its present technique and
methods, so as to put it on a more
dignified pedestal the "Navayug
Chitrapat, Ltd.." has been formed.
A public limited concern of this
type has decidedly great advantages
over the proprietary or private
limited concerns and will not only
put a check to profiteering and do-
red by Section 92 (2) of the Indian Companies Act, VII of 1913).
3ITRAPAT, LIMITED.
ompanies Act).
mineering of individual capitalist or
capitalists but will direct the flow
of huge profits now going into
their coffers to the pockets of
the middle-class people, who, it is
expected, will pre-eminently patro-
nise this Company. The Company
has very good prospects of success
and it hopes to be able to declare
handsome dividends if the requisite
capital comes forth at an early date.
The Signatories to the Memoran-
dum of Association are people of
business experience and the Board of
Directorate is so constituted that it
represents a co-ordinated body of
status, influence and artistic as well
as literary talents.
The Company has been fortunate
in securing the advice and guidance
of Prof. V. G. Kale who has con-
sented to be the Chairman of the
Board of Directors.
Mr. R. N. Abhyankar, B.A.,
LL.B., the well-known leading
businessman of Maharashtra, has
consented to become a Director of
Messrs. Huns Pictures, Ltd., who
are the Managing Agents of the
Company. Mr. Abhyankar is asso-
ciated with most of the leading in-
dustrial concerns in Western India,
some of which he has himself spon-
sored and fostered so well. His as-
sociation with the management will
undoubtedly prove extremely help-
ful.
Principal P. K. Atre will be in
charge of the literary side of the
Company's production. Principal
Atre has, by this time, established
himself as one of ten foremost play-
wrights and screen-writers of India
and his pictures have invariably been
record-breaking box-office hits and
his stories will henceforward be ex-
clusively given to the Company.
The incorporation of Messrs.
Baburao Pendharkar, Vinayak Kar-
natki and Pandurang Naik of Huns
Pictures (Kolhapur), in the manage-
ment will be welcomed as a priceless
asset to the Company and the suc-
cess of the Company's productions
right from the day of inception will
be a guaranteed fact. There are no
two opinions about the artistic en-
dowments and potentialities of these
three artists, viz., Baburao Pendhar-
kar as the greatest character actor
and organiser of film concerns for
the last twenty years. Master Vina-
yak as one of the ace-directors of
India and as the most beloved beau-
ideal of all cine-fans, and Pandurang
Naik as a wizard camera-man.
These three artists have so far given
ten glorious pictures during the last
three years and a half like 'Chhaya,'
'Dharmaveer,' 'Brahmachari,' 'De-
vata' and 'Brandichi Batli,' some of
which have done record business and
have made the names of this trio
household words in India.
Minimum Subscription: — The Arti-
cles provide that the minimum subs-
cription on which the Directors may
proceed to allotment is Rs. 2,00,000.
Promotion Fees: — No Promotion
fees are payable to the promoters.
Preliminary Expenses: — The esti-
mated amount of preliminary ex-
penses (excluding commission and
brokerage on shares) is fixed at
Rs. 10,000.
Commission on Sale of Shares: —
The Articles provide that the com-
mission payable for procuring sub-
scribers to shares shall not be more
than 5 per cent, of the nominal va-
lue of the shares subscribed as shall
be decided by the Directors.
Underwriting Commission: — The
underwriting commission payable to
the underwriters is 5 per cent, in
respect of the face value of Ordi-
THE NAVAYUG CHITRA-
PAT LIMITED offers the fol-
lowing programme of Pic-
tures for the year 1940-41: —
(1) MATSYAGANDHA (My-
thological) by V. S.
Khandekar,
(2) LAPANDAV (Social) by
Principal Atre,
(3) BRAHMAGHOTALA (So-
cial) by Principal Atre,
(4) . POO J A (Social) by V. S.
Khandekar,
All of these pictures will be
supported by the strongest
possible cast, which will in-
clude stars of all India fame.
nary as well as Preference Shares
underwritten by them.
Brokerage: — Brokerage at the rate
of Re. 1 per share, whether Prefer-
ence or Ordinary, will be paid by
the Company on allotment made in
respect of applications bearing the
stamp of any recognised broker or
brokers.
Qualification of Directors: — The
qualification of a Director other than
Ex-Officio Director shall be the hold-
ing of shares in the Company of the
aggregate nominal value of Rs.
5,000/- in the case of first Directors
who serve on the Board during the
first year from the incorporation of
the Company and of Rs. 10,000/- in
the case of subsequent Directors.
Interest of Directors: — No Direc-
tors other than the Ex-Officio Direc-
tors who are directors of Messrs.
The Huns Pictures, Ltd., the Mana-
ging Agents of the Company are in
any way interested in the promotion
of the Company except as mention-
ed above.
Management: — Subject to the su-
pervision and control of the Board
of Directors, the Managing Agents
shall manage the business and
affairs of the Company in accord-
ance with the provisions of the Me-
morandum and Articles of Associa-
tion and also of the Indian Com-
panies Act.
Managing Agents: — Messrs. The
Huns Pictures Ltd. (A private Com-
pany registered under the Indian
Companies Act) have been appoint-
ed Managing Agents of the Company
for a period of 20 years from the
date of registration of the Com-
pany, on the belowmentioned terms
of remuneration: —
(a) A fixed allowance of Rs.
1,500 only per month; and
(b) a commission of 25 per
cent, of the annual net profits of
the Company, provided when such
profits are sufficient to pay a divi-
dend at 6 per cent, to Ordinary
and Preference share-holders; or
(c) a commission of 35 per
cent, of the annual net profits of
the Company, provided when such
profits are sufficient to pay a divi-
dend at 9 per cent, to Ordinary
share-holders and at 6 per cent, to
Preference share-holders; or,
(d) a commission of 40 per
cent, of the annual net profits of
the Company provided when such
profits are sufficient to pay a divi-
dend at 12 per cent, to Ordinary
share-holders and at 6 per cent,
to Preference share-holders.
(i) For the purpose of Sub-
clause (b), (c) and (d) above.
"Net profits" means the profits of
the Company calculated after al-
lowing for all usual working ex-
penses, interest on loans and ad-
vances, repairs and outgoings, de-
preciation, Managing Agents'
allowance, bounties or subsidies
received from Government or other
public bodies, profits by way of
premium on shares sold, profits on
sale-proceeds of forfeited shares,
or profits from sale of the whole
or part of the undertaking of the
Company, but without any deduc-
tion in respect of income-tax or
super-tax or any other tax or duty
on income or revenue or for ex-
penditure on capital account or on
account of any sum which may be
set aside in each year out of the
profits for reserve or any other
special fund.
(ii) The said remuneration pay-
able to the said Huns Pictures,
Ltd., shall be exclusive of and shall
not include any expenses, ac-
tual or incidental, incurred for
the management of the Company's
Office and the conduct of its busi-
ness.
(iii) The said Huns Pictures.
Ltd., as such Managing Agents
FILMINDIA
December 1939>
have the right from time to time
under the Articles of Association
to have not more than two nomi-
nees on the Board of Directors of
the Company who shall be called
Ex-Officio Directors.
(iv) The present proprietors of
the Huns Pictures, Kolhapur, who
are members of the Huns Pictures
Ltd., the firm of Managing Agents
of this Company, are entitled to
carry on their present business for
producing only two talkie films
within a period ©f two years from
the date the Company obtains
commencement certificate in addi-
tion to the film or films that may
be under production at that time.
Voting Rights:- — Every holder of
Ordinary or Preference shares shall
be entitled to be present and to
speak and vote at any General Meet-
ing, and when present in person
shall have one vote on a show of
hands or on a poll when present in
person or by proxy shall have one
vote in respect of each share held
by him subject to a maximum of
twenty votes.
No member shall be entitled to
vote, speak or be present at any
Con. From Page 53
lowers. This picture will give them
something better than they usually
get in average Wadia pictures. The
spectacular aspect of the film will
perhaps draw the crowds.
AS YOU PLEASE
Produced by: Sudama Produc-
tions - Story & Dialogues by: S. K.
Kalla - Direction: Sarvottam Ba-
dami - Music: Jnan Dutt - Cine-
matography: Dronacharrya - Audio-
graphy: Chandrashekhar Trivedi -
Cast : Sabitadevi, Motilal, Vasanti,
Mazhar, Khurshid, Sunalini Devi
etc., Released at Imperial Cinema
Bombay, Date of Release: 4th Nov-
ember 1939.
As the maiden offering of Sudama
Productions and a smart sophisticat-
ed comedy, "As You Please" (Ap
Ki Marzi) is to be welcomed. It is
a pity, however, that a promising
new concern should begin its career
with a picture that is so heavily
inspired by a foreign film.
The Story: If you have already
seen M. G. M.'s rollicking comedy
"Romance For Three" (starring
Frank Morgan, and Robert Young)
it is unnecessary to tell you the
story of "As You Please". But as
you may have missed it, it may be
briefly recapitulated here.
General Meeting unless all calls or
other dues presently payable by him
in respect of his shares in the Com-
pany have been paid.
Restriction on Transfer oj Shares:
— The Directors may at any time in
their absolute discretion and with-
out assigning any reason decline to
register any transfer of shares
whether the transferee is a member
of the Company or not.
Restriction on the powers of
Directors:-- No restrictions are im-
posed in the Articles of Association
upon the Directors of the Company
in respect of their power of manage-
ment except such as are imposed
upon them by the provisions of law.
Expropriation: —The interests of
the share-holders as a body have
been safeguarded against possible
harm to the Company, by any share-
holder acting prejudicially to the
Company, by the Articles empower-
ing the share-holders for expropria-
tion in a general meeting of such
member.
Applications for shares should be
made on the prescribed form which
may be obtained at the Registered
A rich old man, Sir Bansilal
(Mazhar Khan) and an unemployed
youth, Sumant (Motilal) win the
first and second prizes in a Cora-
monsense Cross-words competition
and get a free trip to Kashmir as
the prize. The old millionaire,
thankfully escaping from his tem-
peramental wife (Sunalini) takes
along with him his charming niece
(Sabita Devi). The three meet in
a Kashmir hotel in amusing circum-
stances— the plutocrat being mis-
taken for the pauper and vice versa.
The poor young man, in the course
of time, falls in love with the rich
heiress (who pretends to be a poor
working girl) and the millionaire is
victim of the blandishments of Man-
jari, a gold-digger. There are con-
fusions and misunderstandings but
ultimately the poor young man
marries the rich young woman and
all ends happily.
The story is, of course, free from
any traces of realism (even the hotel
bed-rooms have to look like palaces)
but then one does not expoct realism
in such an inconsequential but high-
ly entertaining trifle.
Production: Produced at Ranjit
Studio, the picture is beautifully
photographed by Dronacharrya.
Audiography is adequate. The set-
Office of the Company as well as at
the Company's Bankers and sent in
accordance with the directions con-
tained therein with a remittance of
the amount payable on application.
Where no allotment is made, the
deposit will be returned in full and
where the number of shares allotted
is less than the number applied for,
the balance of the deposit will be
applied towards the amount remain-
ing payable on the shares allotted
and any balance thereafter remain-
ing will be returned. Failure to pay
any amount on shares allotted when
due will render previous payments
liable to forfeiture. The shares when
issued will be subject to the Memo-
randum of Association of the Com-
pany and the draft agreement with
the Managing Agents, copies of
which can be inspected at the Regis-
tered Office of the Company during
Office hours.
Copies of Memorandum and Arti-
cles of Association can be obtained
at the Registered Office of the Com-
pany on payment of Re. 1.
NOTE:— This is not the full copy
of the Prospectus which may be
obtained from the Head Office of the
Company or its authorised Agents.
tings are impressive and fashionable
but often unreal. The dialogues and
song-compositions could have been
better. Direction is generally satis-
factory, though the lighter .scenes
are handled better than the more
serious and psychological ones. Con-
tinuity is jerky.
Performances: Motilal, as the un-
employed youth, gives a sparkling
performance even though the sce-
nario does not give him full scope
for his talent. Sabita Devi provides
a lively portrayal of the pampered,
childish rich girl. Mazhar Khan
(playing the same role as Frank
Morgan played in "Romance For
Three") impresses us with his
superb sense of comedy which
had first found expression in "So-
nehra Sansar". Khurshid was put
in the cast to provide Sex-Appeal.
She does that and nothing more. Va-
santee seems to have been imported
only to add to the box-office value
of the picture and her role has hard-
ly any dramatic significance. Suna-
lini provides a satirical portrayal of
the millionaire's hysterical wife.
Points of Appeal: This picture
ought to do well at the box-office
because of its star-value and the
smart comedy it provides.
Printed by Camer Saleh at the New Jack Printing Works, 75, Apollo Street, Fort, and published by him
for "filmindia Publications Ltd." from 104, Apollo Street, Fort, Bombay.
N AV M IE S T H A T G O U N T
IN THE ENTERTAINMENT WORLD
THE BRAND THAT
GUARANTEES A
HIGH STANDARD
M EHBOOB
The Director Who Created
"WE THREE" - "JAGIRDAR"
"JUDGEMENT OF ALLAH"
"WATAN" - "THE ONLY WAY"
Starring :
* SURENDRA
* SARDAR AKHTAR
* GULAM MOHAMED
* W A H I D A N
Stars with a Country Wide Reputation
All combine to give
you one big stupendous
Lavish outstanding
Production in Two Versions
ALI BABA
IN PUNJABI & HINDI
* A wails Release
All over llorlh
Oery Shortly
For Bookings : SUPREME FILM DISTRIBUTORS, Dadar Main Road, Bombay 14,
M OT I L AL, VAS ANTt,
MAZHAR, SITAR.A,
RAJkUMARI,CHAP-UE,
DIXIT, TBILOK IMPUR
Shree RANJIT Movitone's
Cjloiious Contribution %waicls Tlational Cause!
ACHHUT 8 THE UNTOUCHABLE
COMING SHORTLY: WATCH FOR THE DATE!
A Clarion Call to Create
New Society where there
is no Greater Religion
Than HUMANITY
I
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